Group 2

Harriet Kaplan with your "clunky" sound it's not as bad as you think, but what is happening here is a lot of the same dynamic - ornaments therefore sound a bit awkward at times. I would suggest less finger-oriented playing and more use of arm motion. When you play your 4th finger, try to let your arm move forward and slightly upward rather than downward and curling the finger toward the palm. The type of pulling motion you often use with your hand also coming down is making less space for your fingers to move into = restricted sensations.

Susan Rogers good trill and grace note motions! Arpeggiated chords op47: let your thumb come downward more on C-flat of second chord, then arm will move you to the bass note from beneath the keyboard. Your motion between the end of the first chord and beginning of second can be more efficient: right now you’re leaning on your thumb to one side, let your arm and hand bring it downward and beneath the keys (your wrist is going to look much lower) so your 5th ends up starting from a flatter place when you play the second chord. Let me know if you have any questions and please post a demo of this gesture if you want confirmation you’re getting it right.

Angela Fogg changing key spot helps to avoid finger curling: this technique is for slow and fast playing, but in fast tempo I the movements are so small they are almost invisible. Practicing this motion slowly develops arm and hand alignment/coordination. In fast speed, the alignment remains the same but allows smaller-sized movements to change fingertip placement on the key. Let me know if you have any questions about that! 

Angela Fogg precisely.

Andrea Buckland for m9, you can take the upper note of the arpeggiated chord in your RH thumb. With stretches like these feel free to accommodate your hand, that’s not cheating as long as you don’t let the rhythm become so distorted the bar sounds in 4 beats rather than 3 (my personal opinion). Bars of eighth notes in the main theme can have more variable lengths of individual notes - not just scales, singing lines (listen to K. Popowa-Zydroń’s recording of Op50, she plays flexible eighth notes that don’t distort the main pulse, it’s poetic). 

Andrea Buckland yes you’re exploring the right direction now - you have more rubato on the second beats, a more flexible approach to rhythm. Most of all in mazurkas what counts are nuance and detail, keep listening and finding more of it, Not surprised you cried while listening to KPZ, she’s a first rate poet (that’s why I went to study with her: love her sound and poetic conceptions).

Andrea Buckland thank you for listening! If you can make it to the zoom meeting I just posted (it’s in 30 mins) we can chat more about mazurka style!