Group 1

Monika Tusnady Bravo! I love your energy, tempo and the way you transition between sections! What a great Mazurka (and opus). Will add this to my ever growing list of Mazurkas to learn

Monika Tusnady much better than last time; energetyczny (energetic), spontaniczny (spontaneous), o wiele ciekawy (interesting). On the last cadence of the B-flat section, sit back on the bench and let the rhythm come out naturally with a diminuendo. This place can be an exciting surprise for the audience but when performing it, we tend to anticipate the 8ve forzando rather than wait for it. Think of that place as educated screaming and let your hands settle onto the B-flats until the exact moment you've heard silence. Good effort on the Trio, this just needs a bit more time and you should be able to technically anticipate the jumps more comfortably. Keep on slow practice tempi with the Trio but fast arm movements between the lower note of the jump and the higher note. Będzie super! (it'll be great!)

Jarred Dunn thank you for that feedback, so helpful, as always. EDUCATED SCREAMING is a brand new concept to me, one that I cherish all the remaining days of my life. 
And…I just love the Polish words you use. They make our Mazurka TWI into a complete cultural experience. 

Monika Tusnady I love it, Monika!

Monika Tusnady Sounds wonderful, with very dancing mood and energy, Bravo Monika!

Richard George Littlewood Yes I hear that spacing now, thanks for recording only LH. I'd say the 5th finger part needs a bit more practice for precision and touching each key (esp. the lower tones of the 6ths). I noticed at the end your 4th finger plays but your arm moves back from the key: it'll be easier if your arm stands forward into the 4th finger to support it when playing. For the mazurka chord figures one-TWO-three, try for the middle bar having a bit more emphasis than the downbeat; that'll improve things significantly. Do roboty!

Jarred Dunn I'll look into that. I really appreciate your comments. Thank you for taking the time to listen!

Jarred Dunn Great! Thank you!

Steven Hart rytm jest ok (rhythm is ok). Allowing some accents at 1:08 to be heavier in alto voice on second beat is good but don't lose the soprano in the process. Oberek screaming at 1:17, check soprano notes - B-sharp should be the penultimate note of mm. 17 and analogous passages. Difference between dotted rhythms and triplets is clear. It's not advisable to make a ritenuto at the end of the phrases on f-sharp cadences; the triplet shouldn't lag. If the triplet lags, the descending rhythm (becoming slower) is harder to hear. In the grace-note passage starting m. 40, let your hand glide across leaps rather than physically jumping upward. The keys can fling you more loosely to give the leaps in sound a feeling of horizontal motion (technically speaking this can be difficult for the hand to feel because the tempo is always felt faster due to adrenaline and passage construction being more energetic). Dobra robota!  

Jarred Dunn Thanks for the feedback.  Much appreciated!

Steven Hart proszę bardzo!

 good effort on this, pulse is clear. Don’t slow down at the transition into section B, this is a subtle transition with the double bar line mediated by the amount of time it takes to tie the E in soprano. Good dynamics in 1:20-1:45 with the chromatic alto and tenor voices, vary the level of crescendo or dim. so each iteration of this melody is different. Be careful about the dotted rhythm so it isn’t a triplet: this distinction has to be really clear. Last phrase triplets - let these feel flute-like (piszczałka) and airy, with an improvising touch on each of them (sometimes the first note of triplet a bit emphasized, sometimes the second note, etc).