<glacius:metadata>

    <title>Chopin's Mazurkas - Part 3</title>

    <description>Once again I listen to Chopin's Mazurkas (part 3)</description>

    <category>Piano</category>

    <category>Music</category>

    <category>Classical music</category>

    <category>Chopin</category>

    <series order="9">2022 music project</series>

    <series order="3">Reviewing Chopin's mazurkas</series>

</glacius:metadata>

<p>

    And we're back with another exciting installment of me listening to Chopin's Mazurkas

    and then talking to myself about them (previously: 

    <glacius:link page="music/projects/chopin-mazurkas-part-1">part 1</glacius:link> and

    <glacius:link page="music/projects/chopin-mazurkas-part-2">part 2</glacius:link>).

    We begin on Op. 24, No. 1.

</p>

<h2>Quatre Mazurkas</h2>

<p>For <em>a monsieur Comte de Perthuis</em></p>

<h3>Op. 24, No. 1 in G minor</h3>

<p>

    I'm excited to announce that Chopin has returned to form by starting with a <code>V - i</code>

    progression. A return to the classics (see part 1 for more details).

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-starting-on-v.png" type="image">

    <caption>Op. 24, No. 1 starting on the <code>V</code>: apparently a mazurka classic</caption>

</glacius:figure>

<p>

    The main theme features some more "gypsy" style scales, with what I think is called

    the <del>altered Phyrgian</del> 

    <a href="https://en.wikipedia.org/wiki/Hungarian_minor_scale">Hungarian minor scale</a>, 

    i.e. harmonic minor with a raised 4th. In this case some rogue

    C♯'s.

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-csharps.png" type="image">

    <caption>Traces of the "gypsy minor" scale in Op. 24, No. 1</caption>

</glacius:figure>

<p>

    The next section features some interesting echoing by the left hand. The 9th jump

    followed by a descending chromatic which was repeated a phrase earlier in the right

    hand.

</p>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-b-section-chromatic-rh.png" type="image">

            <caption>Right hand descending chromatic line</caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-b-section-chromatic-lh.png" type="image">

            <caption>The same melody mirrored in the left hand in the next phrase</caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    The rogue C♯ makes another appearance to help transition from E♭ back

    to G minor by use of what appears to be a progression of 

    <span style="color: #66FF66">E&#x266d;7</span> &#x2192; 

    <span style="color: darkorange">A7&#x266d;5</span> &#x2192; 

    <span style="color: red">D7</span> and finally ending back at 

    <span style="color: #6666FF">Gm</span>. That "<code>V</code> of the <code>V</code>"

    progression which utilizes the ♭5 is a harmony that is not uncommonly seen

    seen in Chopin's music, and the Romantic era in general (e.g. Chopin's 2nd 

    Ballade)<glacius:cite>Actually, this is incorrect, as I misremembered the chord voicings

    in Chopin's 2nd Ballade (there is a B7♭5 chord voicing at the very end,

    which eventually leads to E7 and then to Am, but there's like 8 measures of stuff

    in between the chords, so I don't think it counts). And then I couldn't actually find

    an example of it in less than 5 minutes so I gave up. It's possible that chord progression

    is not nearly as common as I thought in Romantic music.</glacius:cite>.

    Ragtime music also makes very heavy use of the "<code>V</code> of the <code>V</code>"

    progression, although you don't see a ♭5 very frequently.

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-v-of-v-mazurka.png" type="image">

    <caption>"<code>V</code> of the <code>V</code>" in Op. 24, No. 1</caption>

</glacius:figure>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-v-of-v-ballade.png" type="image">

            <caption>

                The "<code>V</code> of the <code>V</code>" progression in Chopin's 

                <a href="https://en.wikipedia.org/wiki/Ballade_No._1_(Chopin)"><em>Ballade No. 

                1</em></a>

            </caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no1-v-of-v-entertainer.png" type="image">

            <caption>

                "<code>V</code> of the <code>V</code>" as seen in Scott Joplin's famous

                <a href="https://en.wikipedia.org/wiki/The_Entertainer_(rag)"><em>The 

                Entertainer</em></a>

            </caption>

        </glacius:figure>

    </div>

</glacius:grid>

<h3>Op. 24, No. 2 in C major</h3>

<p>

    A nice happy number, to contrast the gypsy-style funeral dirge of No. 1. The brief

    F major arpeggio in the B section reminded me of Chopin's F major Etude Op. 10, No. 8.

    It even has a similar trill. Although it's like three times faster and covers three

    times as many octaves.

</p>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no2-arpeggio-mazurka.png" type="image">

            <caption>Arpeggios in Op. 24, No. 2</caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no2-arpeggio-etude.png" type="image">

            <caption>Similar (identical) arpeggios in Chopin's <em>Etude Op. 10, No. 8</em></caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    This is followed by perhaps the clunkiest modulation I've heard from Chopin. You don't

    frequently see a modulation beginning with a tritone. Also notice that the 

    <code>V</code> &#x2192; <code>I</code> progression is back on the menu as well!

</p>

<p>

    The tritones continue as the left hand takes over the melody, this time in D♭

    as opposed to A♭.

</p>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no2-modulation.png" type="image">

            <caption>

                A sudden and inevitable modulation to a tritone

                (and another <code>V</code> &#x2192; <code>I</code> progression!)

            </caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no2-lh-tritones.png" type="image">

            <caption>More tritones as the left hand takes over the melody</caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    And again my score is missing a note that's present in 

    <a href="https://www.youtube.com/watch?v=_6k8CUmtRE8">the recording I'm listening to</a>.

    A <span style="color: #66FF66">rogue A</span> is can be heard but not seen right before the 

    repeated quarter note chords at the end. Time to investigate once again.

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no2-phantom-a.png" type="image">

    <caption>The phantom A's missing from my score</caption>

</glacius:figure>

<ul>

    <li>

        Arthur Rubinstein does not play the phantom A's<glacius:cite>Rubenstein's

        performance of Op. 24, No. 2 on 

        <a href="https://www.youtube.com/watch?v=JhSjRbh8a6k">YouTube</a></glacius:cite>

    </li>

    <li>

        Martha Argerich does play the phantom A's<glacius:cite>Argerich's

        performance of Op. 24, No. 2 on 

        <a href="https://www.youtube.com/watch?v=44X4LG5BqhY">YouTube</a></glacius:cite>

    </li>

    <li>

        Rafał Blechacz does play the phantom A's<glacius:cite>Blechacz's

        performance of Op. 24, No. 2 on

        <a href="https://www.youtube.com/watch?v=flIQ02Nlkpk">YouTube</a></glacius:cite>

    </li>

    <li>

        Krystian Zimerman does play the phantom A's<glacius:cite>Zimerman's

        performance of Op. 24, No. 2 on

        <a href="https://www.youtube.com/watch?v=3STKpu_FS9g">YouTube</a></glacius:cite>

    </li>

</ul>

<p>

    In conclusion, play the A's. If Zimerman and Argerich are doing it, so should 

    you.<glacius:cite>If possible, of course.</glacius:cite>

</p>

<h3>Op. 24, No. 3 in A&#x266d; major</h3>

<p>

    Another one starting off with the <code>V</code> &#x2192; <code>I</code>

    progression. I don't know why that fascinates me so much.

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no3-starts-on-v.png" type="image">

    <caption>Another day, another mazurka starting on the <code>V</code></caption>

</glacius:figure>

<p>

    The A section is pretty simple, there's not a lot to say about it. It follows

    a simple chord progression (just <code>I</code>, <code>IV</code> and <code>V</code>)

    and nothing crazy happens. Barely even any passing tones or anything harmonically

    complex. It's just simple and easy to listen to.

</p>

<p>

    The B section brings out some more complex harmonies. I particularly liked the left

    hand, which plays continuously resolving °7 chords. And I didn't notice this as I was listening and following

    the score the first time, but that penultimate chord in the left hand is actually

    a G7&#x266d;5 (see, I <em>knew</em> the 7&#x266d;5 chords were ubiquitous). At first

    glance I assumed that <span style="color: #66CC66">D&#x266d;</span> was a

    D♮. Isn't it wonderful how the universe just aligns like that?

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no3-lh-chords.png" type="image">

    <caption>

        Left hand diminished chords in Op. 24, No. 3 (and the ever-elusive 7♭5 chord!)

    </caption>

</glacius:figure>

<p>

    The end of the B section reminds me of the beginning of Chopin's Ballade No. 2, but 

    that's probably because I was just refamiliarized myself with it after trying (in vain) to 

    find the 7♭5 chord progression from the previous mazurka.

</p>

<glacius:grid>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no3-end-of-b-section.png" type="image">

            <caption>Repeated Cs at the end of the B section</caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no3-ballade-no2.png" type="image">

            <caption>

                The same notes in the same rhythm to begin Chopin's <em>Ballade No. 2</em>

            </caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    The little coda brings this happy little mazurka to a close. Although it ends

    on the third, which is almost ominous. Of note: the marking starting in the fifth

    bar from the end (<em>perdendosi</em>) is something I've literally never seen

    before. I had to look it up, and it means (essentially) "get slower and quieter".<glacius:cite>From

    <a href="https://en.wikisource.org/wiki/A_Dictionary_of_Music_and_Musicians/Perdendosi">this

    source</a>, <em>perdendosi</em> was also used by Chopin in his C minor Polonaise (Op. 40,

    No. 2), and by Beethoven in his 31st Sonata (A♭ major), which nobody remembers because 

    it's sandwiched between the Hammerklavier and the famous and influential No. 

    32.</glacius:cite>

</p>

<p>

    But, you know, much more romantically.

</p>

<h3>Op. 24, No. 4 in B&#x266d; minor</h3>

<p>

    Yes, it's true. Another mazurka starting with the <code>V</code> &#x2192; <code>i</code>

    progression. Although technically, this one has a pretty weird intro with some strange

    chromatic dissonance, before getting to F7 and finally B♭m.

</p>

<glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-intro.png" type="image">

    <caption>

        Interesting chromatics, followed by the classic <code>V</code> &#x2192; <code>i</code>

    </caption>

</glacius:figure>

<p>

    I like this one. The A section is full of Chopin-esque-ness, with complex harmonies,

    some counterpoint, using a lot of the piano's range, and wide dynamic shifts. This

    is what Romantic music is all about. After the B section, the A section is revisited

    but this time with even more counterpoint. Reminds me of Chopin's 4th Ballade, where

    every time the main theme is repeated there is more counterpoint and more complex

    harmonies.

</p>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-theme1.png" type="image">

            <caption>First time through the main theme: nice and simple</caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-theme2.png" type="image">

            <caption>Second time through: a little bit more stuff going on</caption>

        </glacius:figure>

    </div>

</glacius:grid>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-ballade4-1.png" type="image">

            <caption>

                <em>Ballade No. 4</em>: first time through the main theme is nice and simple

            </caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-ballade4-2.png" type="image">

            <caption><em>Ballade No. 4</em>: later on it gets weird</caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    The piece eventually has a little Coda (marked <em>calando</em>) in B&#x266d; major,

    and one part caught my eye: a very strange spelling of one instance of

    a <span style="color: #66CC66">repeated chord</span>, and honestly it just looks like

    a mistake.

</p>

<glacius:grid cols="2">

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-spelling1.png" type="image">

            <caption>Very strange spelling of the G&#x266d;7 chord</caption>

        </glacius:figure>

    </div>

    <div>

        <glacius:figure glacius:src="09-chopin-mazurkas-op24-no4-spelling2.png" type="image">

            <caption>Alternative spelling in some editions</caption>

        </glacius:figure>

    </div>

</glacius:grid>

<p>

    After some investigation, the E/C♯ spelling is directly from the 

    manuscript<glacius:cite>Image taken from 

    <a href="https://polona.pl/item/4-mazurkas-pour-le-piano-forte-dediees-a-monsieur-le-comte-de-perthuis-oeuv-24,MTEyNDQ2OA/28/#item">Polona</a>

    </glacius:cite>

    (which I suspected, since it's so weird that no editor would spell something like

    that). However, Chopin (or whoever he hired to transcribe for him) did appear to 

    scribble out the first try, so maybe there was some confusion somewhere. Or

    maybe he was just drunk.

</p>

<glacius:figure glacius:src="chopin-mazurka-op24-no4-spelling-facsimile.jpeg" type="image">

    <caption>Chopin's original had the weird spelling.</caption>

</glacius:figure>

<p>

    Of all the mazurkas so far, this one is definitely my favorite.

</p>

<h2>Downloads</h2>

<ul>

    <li>

        <glacius:link file="09-chopin-mazurkas-03.ly">Lilypond source</glacius:link> used

        to generate the graphics used in this article.

    </li>

</ul>