In the piano works’ forms and types, Frédéric Chopin’s (1810-1849) Mazurkas are the most outstanding and expressive of the distinctive cultural features of Poland. F. Chopin’s Mazurkas includes eleven sets published during his lifetime which are forty-one works with Opus numbers, four works published posthumously without Opus numbers, two sets published with Opus numbers which are eight works, and four works which were discovered by other <a href="http://www.ntsearch.com/search.php?q=people&v=56">people</a> after his lifetime; a total pf fifty-seven Mazurkas. I would like to discuss how F. Chopin translated the characteristics of the Polish folk dances into Mazurkas which he composed for <a href="http://www.ntsearch.com/search.php?q=music&v=56">music</a> concerts.
The purpose of this study is to understand the composition skills in F. Chopin’s Mazurkas, such as, ecclesiastical mode, rhythm, harmony, musical forms, and structures. After studying these skills, we will grasp the musical elements which F. Chopin used in Mazurkas. The study also discusses how F. Chopin designed and framed Mazurkas, interpreted the Mazurkas’ performance, and connected <a href="http://www.ntsearch.com/search.php?q=music&v=56">music</a> scores (vision) to the playing (hearing) of Mazurkas.
Most studies about F. Chopin’s Mazurkas often focused on the history of Mazurkas and the background of F. Chopin, or compared F. Chopin’s Mazurkas with the other F. Chopin’s related works. I expand the scope of the study to all of F. Chopin’s Mazurkas, and pays attention to the musical elements which F. Chopin used.
The first topic is the origin of F. Chopin’s Mazurkas and the musical characteristics in F. Chopin’s Mazurkas, including:
‧ The three kinds of dance music: Mazur or Mazurka, Kujawiak, Obertas or Oberek, which are involved in Mazurkas.
‧ The variation between the typical and basic rhythm and accent.
Second, I collect and conclude the musical grammar and style in F. Chopin’s Mazurkas with the following items:
‧ Application of the ecclesiastical mode and Hungarian mode scale and the pentatonic scale.
‧ The melodic grace note.
‧ The characteristics of the dance.
‧ The characteristics of the harmony.
‧ The color of Chromaticism
‧ The structure and form in works.
My final and concluding topic is a discussion of the fifty-seven works of F. Chopin’s Mazurkas, one by one, and then has a discussion of the performance practice.
Mei-Hsun Chu Piano Recital
Program
J. S. Bach(1685-1750): Partita 2 in c minor, BWV 826
Sinfonia
Allemande
Courante
Sarabande
Rondeaux
Capriccio
F. Chopin(1810-1849): Mazurkas, Op. 17
Ⅰ Vivo e risoluto
Ⅱ Lento, ma non troppo
Ⅲ Legato assai
Ⅳ Lento, ma non troppo
F. Chopin(1810-1849): Mazurkas, Op. 59
Ⅰ Moderato
Ⅱ Allegretto
Ⅲ Vivace
L. Van Beethoven(1770-1825): Sonata No. 16 in G major, Op.31 Nr. 1
1st mov. Allegro vivace
2nd mov. Adgio grazioso
3rd mov. Rondo-Allegretto
A. Ginastera(1916-1983): Sonata No. 1, Op.22
1st mov. Allegro marcato
2nd mov. Presto misterioso
3rd mov. Adagio molto appassionato
4th mov. Puvido ed ostinato