The Mazurkas Op. 6 consisted of 4 of the very first mazurkas that Chopin released.
The piano pieces of Chopin changed the method the piano was played, not so much in the technical sense as with Liszt, however in the expressiveness needed of the pianist. In shorter works, Chopin explore textures and sonorities, producing an entirely distinct piano design. Perhaps the most uncommon and specific of the much shorter types is the mazurka, which reflects the merging of Chopin’s cosmopolitan affects in Paris with his growin consciousness of being Polish. While keeping the flavor and rhythm of conventional Polish dances, the mazurkas likewise show the advanced melodic nuances and the coloristic harmonies found in Chopin’s other music. These short, intimate evocations of his homeland are possibly a few of Chopin’s biggest contributions to the piano collection.
The 4 mazurkas of Op. 6 were not the first Chopin made up; he started composing them at the age of fifteen. The mazurka sets Opp. 6 and 7, released in 1832, were, however, the very first of the category that he released. The very first piece in the Op. 6 set is the most rhythmically unclear, with the accented third beats and connected downbeats. The mournful, reflective thematic product is briefly interrupted by a lot more jubilant and rhythmically easier interlude, returning shortly to the opening melody. The second piece in the set is more outwardly dance-like, with a triple-meter waltz-like bass line. The music appears relatively simple, however the play between the inner voices includes additional character and nuance. The third mazurka, significant Vivace, is the only one in a major secret. Its accented 3rd beat and its rhythmic drive add animation to the set. The interaction between the fancy right-hand man and the tricky left-hand melodies also contributes to the fun. The last piece in Op. 6 is extremely quick, with a recurring, spinning tune that gives the impression of a carousel.
Free Piano Musical Sheet PDF Download Chopin Mazurkas Op. 6
No. 1 in F ♯ minor
Devoted to Grafin Pauline Plater, this mazurka uses Polish folk rhythms and modes and has a metronome mark of 132, making it among Chopin’s slower mazurkas. It is of moderate trouble: the ABRSM system assigns a grade 7. The piece begins with a piano section where the central style is mentioned. This focuses on oscillating triplets and brings heavy accents on the 3rd beat of each bar. A 2nd theme, fortissimo, provides a passage filled with sforzandos and wedge accents. The original style then returns, forte, but rapidly decrescendos. These passages end with repeats. The 3rd style enters as an ostinato under a thundering accompaniment with a grace note before every chord. There is use of the Lydian mode, and the accents are even heavier than in the second section. After numerous percussion chords, the central style returns and the mazurka slowly dies away.
No. 2 in C ♯ minor
The 2nd mazurka of the set, in C-sharp minor, is played faster than the previous one, with a more dynamic theme, but Chopin’s metronome marks suggest that this mazurka is in fact a bit slower than the very first (63 BPM compared with 132 BPM). This is Chopin’s most convenient and earliest C-sharp minor mazurka.
No. 3 in E major
The third mazurka of the set, in E major, includes a better theme than the rest, with a “waltz-esque” rhythm.
No. 4 in E ♭ minor
The final mazurka in E-flat minor is the shortest among the set. The mazurka includes a repeating style.
|Name Translations:||マズルカ作品6; Mazurki op. 6; Mazurkas, Op. 6; Mazurka’s; 4 Mazurche op. 6; Masurques op. 6|
|I-Catalogue Number:||IFC 47|
|Year/Date of Composition:||1830|
|First Publication:||1833 – Leipzig: Kistner|
|Dedication:||Pauline Plater and Ferdinand Hiller|