This is my third installment in the 2022 music project series. Chopin is my favorite composer, except for the stuff he wrote that I don't like. However, I have at one time another either played or listened to everything he's done. Or so I thought.

I recently realized that I had not listened to all of his mazurkas. The reason for this is that I don't really like them. They're supposed to be traditional dances or something, but they're not very dance-like. The melody is generally either boringly simple or way too complex. And my god the repetition!

Anyway, I figured I could blow through 51 of his mazurkas and then I can say that I've listened to them. Apparently there are more, published after his death, or whatever, but those ones aren't in my book of Chopin's Mazurkas, so I'm going to ignore them.

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The Mazurkas

My plan is to listen to them, while following along in the score. Perhaps I'll write some thoughts, but mostly I thought it might be neat to rank them in a purely objective manner, i.e. how much I like them. Or maybe not. I haven't really decided, yet.

Quatre Mazurkas

For Contessa Pauline Plater. I'm sure she was thrilled.

No. 1 in F♯ minor

This one isn't bad. Short and sweet, although, like all the mazurkas, annoyingly repetitive. Interesting that the main theme starts on the V and resolves to the i in the second measure.

No. 2 in C♯ minor

I like this one. The intro/outro is unusual. It uses a pedal G♯ in both hands while the right top three fingers handle the melody.

Like the previous piece, this one also starts on the V and then resolves to the i. Maybe that's just how mazurkas work. I've got 49 more to go to see if that theory holds.

Most of this one kind of just sounds like a typical waltz, which probably is why I like it.

No. 3 in E major

This one is even shorter and sweeter. The beginning reminds of something, perhaps some Liszt piece with the strangely accented fifths. The asecending broken chords also remind me of Chopin's E major scherzo. Albeit less intimidating.

I was also reminded me of Beethoven's Rage Over a Lost Penny, but only because of the left-hand chords that are difficult for me to reach.

TODO: insert some graphics here.

No. 4 in E♭ minor

This is incredibly short, for which I am thankful. Very frantic, with lots of notes that sound like wrong notes, weird accents and just generally muddled melodies. This is what I think of when I think of mazurkas.

This one did not start on the V so the dream from the previous mazurka is dead.

One interesting musical thing is that the main melody starts with an E♭m chord and then immediately goes to an E♭7. It's hard to tell the actual chord progression, but it might be more of a G°7 which leads to Fm which leads to B♭7 which brings us back to E♭m, which would make more sense than a Picardy 3rd in the 2nd beat of the main theme.

Or whatever.

Cinq Mazurkas

No. 5 in B♭ major

Just looking at the score I can see we're back to the V - I progression to start out. The dream is alive?

This one is nice and whimsical, with a very waltz-like feel to it. Once again the C section revisited one of neat things I mentioned from No. 2, with the pedal tones, this time in G♭, which eventually resolves to F and then back to the main theme in B♭. I don't know if that's a common theme in these mazurkas, but it's nice to hear something different between all the repeats.

No. 6 in A minor

I'm starting to think mazurkas don't really start out on the tonic. This one starts out on the iv. No dreamy V - I but still pretty spicy.

First thing I noticed while listening it that there appears to be either an omission or an elision from my score. Measure 8 in the performance (and other scores) has an E major chord while mine has E minor. Probably a printing error, to be honest. This might warrant some more investigation...

This one is much more somber and melancholy than the previous mazurkas. A nice departure from what I would probably characterize as "frantic" compositions; this one is more like a sad ballad.

The B section ends on a picardy third, which I found quite pleasing. The 1st ending is A minor and the 2nd ending is A major, which leads to a key change. You love to see it. I guess all mazurkas aren't just cacophonies of appoggiaturas after all.

This has a classic DC al fine marking, in which I noticed that after the key change to A major, when it goes back to the beginning we are back in D minor. So with end of the final section ending in A major V, it then nicely transitions to D minor (i). Maybe Chopin knows what he's doing after all.

This one is probably my favorite so far.