Group 4

Harriet Kaplan Hi Harriet,

It was definitely recorded but I’m sorry I don’t have the link. But it must be somewhere!

Harriet Kaplan If you scroll to the top of this thread it is there. You’ve probably found it by now!

Jarred Dunn Fantastic- thank you!

Nancy Brass first theme is a bit rigid in terms of sound; it's rhythmically on point but could it be a bit more flexible. The kujawiak dance has its origins in lyrical swaying and is more melancholic in its rhythmical movement than it is strict like an oberek or mazur. Technically your thumb can be more flexible so that the hand will adjust to each new position and leap more easily to higher notes! At 0:45 you might want to take a sharper approach to the grace notes, more like a percussive quick strike on the C followed by a drone G. At 1:29 start quieter - this is a solo instrument that builds what is usually the opening of a mazurka: the przyśpiewka (ditty, sung or played to a band, which is then used by the band as improvisation source for a dance accompaniment) - Chopin sometimes puts this ditty in the middle to emulate folk dances that have this feature not as an opening but an interlude in the dance. Good work so far. Do roboty! 

Alexander Weymann I love the piece and your playing, Alexander! Thanks for sharing!

Alexander Weymann after the initial theme you gain energy in the mazur (A major) and it continues into the second iteration of the contrapuntal theme. Your second mazurek (B major) has the biggest point of impact on that momentum: your quarter notes are a little stagnant until the tempo itself accelerates: keep your hand in motion through the beginning of this phrase, especially beat 2. Main theme return: mind the slurs from chord on third beat to first beat (3:30). The accented chords beneath slur from beat 3 to next bar downbeat are most effective if we hang on before placing the next downbeat. Coda single note lines are better, octaves could be smoother when repeating the same note. Good finger legato in the long chromatic passage (5:00). For the final monologue 5:26, build more dynamically here - this is one of the saddest moments of 19th century piano music. You’re improving! 

Jarred Dunn thank you! I had to read this multiple times, but I think I understand now how you are outlining the musical arc of the pice. If I am building momentum from the first A major mazurka, throughout the B major mazurka, and all the way "into the second iteration of the contrapuntal theme", by which I assume you mean this section: 

then I need to be careful to not lose tension and fall back into too much dreamy lyricism in passages such as the eight bars before the B major mazur or the return of the initial theme, both of which I've been playing rather meditatively and wistfully. Is that correct? Vary the dynamics, the colors, the character etc., but keep an undercurrent of energy building up all the way to just before the coda, i.e. to bars 125-132? 

Alexander Weymann Thanks for sharing this, I was not acquainted with this pieces before; it's now on my wish list! And it's a good reminder to apply the learnings of this TWI to other non-Chopin Mazurkas (e.g. Debussy).

Mark Forry you are very welcome - yes, it's a somewhat obscure piece, but quite beautiful, I think, and well worth sharing. One day, I hope to be able to play it well! :-) And you're absolutely right: what we have learned in this TWI will be so helpful and empowering when playing mazurkas by other composers (Szymanowski, anyone?)!

Andrea Buckland you are most welcome; thank you for your kind words!

Alexander Weymann Great playing, Alexander! It has been a wonderful surprise to find this beautiful piece of Granados here and your playing is as beautiful as the music itself. Bravo!

Juan Carlos Olite thank you so much for these very kind words, they mean a lot coming from you! I'm glad you enjoyed the piece; I've always loved it for its wistful mood and its rich, aching harmonies.

Alexander Weymann dokładnie!

Jarred Dunn thank you so much; this has been phenomenal! "Intensive", indeed. I learned so much! It has been impressive how well you had this prepared and structured, especially with the perfectly chosen didactic materials added at certain points. 

Jarred Dunn Thank you again for an exciting, thought-provoking, emotionally-satisfying, and fun journey through the Mazurkas and their musical and historical context! I'm sure I'm not alone in having a lot to think about and practice over the coming weeks and months. I'll happily look forward to working with you again in the future.
Z głęboką wdzięcznością i gorącymi pozdrowieniami dla Was!

Mark Forry good work following tempo to a more optimistic result in the first dance's character. Dotted rhythms and triplets are generally distinct from one another, but double check that according to the cadences. Use the stretto to show a bit more enthusiasm in m. 6-7. The important fermata before the cadence articulates a breathing point in the line - use this to return to the tempo, don't count it in tempo. Mazurek m . 33: listen for the ends of sounds that have marcato wedges (mm. 35, 37, 39) - this is a formula that needs to have a bit more energy and joy (radość) than seriousness. I recommend thinking of a crack in the cement (pięknięcie) at the wedges, this will truly separate the marcato interval from the third beat accent and make it much easier to communicate the tilted third beat. Good octaves! For a more dolce quality at mm. 33 and analogous places, sing the lines more and imagine a group of singers all unified in their love of dancing, parties, and music.