“I should like now to finish my violoncello sonata, barcarolle and something else I don’t know how to name,” wrote Chopin in a letter of December 1845. It is an unfair simplification to evoke veiled salons when discussing some of Chopin’s achievements, but there is an unavoidable urge to compare this music, with its instant changes in mood, to the flicker and blaze of candle flame. All three are examples of how far Chopin has taken the initial inspiration of a vigorous dance and transformed it into a supple emotional catalyst. 3, in 1841, and the Mazurka in C minor, Op.
4, was published in 1835, the Mazurka in C-sharp minor, Op. The three mazurkas we hear tonight all date from the middle period of Chopin’s short life. He wrote 50 of them across the entire duration of his career, and his progress as a musician can be heard in their variety. Of the several dance forms Chopin employed (the waltz and polonaise among them), the mazurka was used most often. The mazurka, a lively folk dance in triple time with a syncopated first beat, originated in the Mazovia province of northern Poland.
The bluesy idiom of Kahane’s final variation has something in common with the mazurkas of Frédéric Chopin (1810-1849), in that both demand expressive rhythmical subtleties that simply can’t be captured in notation – they have to be felt.
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