The Op. 7 set of mazurkas is the only one containing five pieces; all the author’s other released sets consist of either 3 or 4 items each. On the whole, this set represents an advance from the Op. 6 collection. In fact, when the Op. 7 was published in 1832, it gained Chopin both recognition and prestige in France for vibrant and imaginative composing that more tradition-minded ears discovered revolting. The pieces range in length from about four minutes (the second piece in the set) to half a minute (the final mazurka, in C major).
The very first mazurka in this set, in B flat major and sometimes called Mazurka No. 5, is probably the best understood in the group. Marked Vivace, it is an elegant, vibrant piece whose sophistication and debonair qualities give it a somewhat stylish air. However in the latter half of this piece a controlled style appears that is more earthy, more peasant-like. The primary style returns to close this attractive work.
The next mazurka, in A minor, has a mournful quality. The normal pace is slow, regardless of the Vivo, ma non troppo marking, and the primary style is mild in its sadness. Lots of will hear in this piece the author’s longing for his family and Polish homeland, from which he was banished for political factors in 1831. The middle section has an air of defiance, but yields to the charming, forlorn theme from the opening to close the piece.
Chopin Mazurkas Op. 7 Piano Musical Sheet PDF Download
The next mazurka, in F minor, starts with a threatening rhythmic concept; it then provides a lively style whose rhythms are sharp and springy, but portending no risk or hazard. The melody is vibrant and Slavic in nature, including the admixture of the peasant-like and exotic that so amazed Parisians of the day and has lost none of its piquancy over the years. This mazurka bears no textual description but brings a metronome marking of 54 for the dotted half-note.
The A flat major mazurka, is hectic, carrying a marking of Presto, ma non troppo. The main style is lively and good-natured, naughty in its clown-like manner. A controlled, pensive middle area evokes a dreamy environment, which is ultimately temporary as the opening theme returns to liquidate this one-minute romp.
The last mazurka in the Op. 7 set, in C major and significant Vivo, is the fastest however in many ways the subtlest. It is a fine example of Chopin’s funny bone, or of what one might call his sense of mischief. In the main it is lively and happy– or so it seems. The listener quickly realises that the giddy melody can not get untracked– it duplicates itself again and again, varying quite little. Unexpectedly the mazurka ends, as though collapsing in the awareness that it truly had little to state.
|Name Translations:||Mazurkas, Op. 7; マズルカ作品7 (ショパン); Mazurki op. 7 (Chopin); Mazurka’s; Masurques op. 7; 5 Mazurche op. 7|
|I-Catalogue Number:||IFC 48|
|Year/Date of Composition:||1824-1831|
|First Publication:||1833 – Leipzig: Kistner|
|Dedication:||Paul Emile Johns (1798-1860)|