Demonstration - Chopin's Mazurka in B-flat minor, Op.24, No.4

Ivona Kaminska Performs Chopin's Mazurka in A flat major, Op.24, No.4

Notes from the performer:

Each of Chopin's published Mazurka sets features at least one larger and more complex dance. The fourth represents the "big" Mazurka of the Op.24 set. The B-flat minor mazurka is not only the longest, but also most profound in its counterpoint, chromatic harmonies, contrasts and somber ending section that makes abundant use of Phrygian minor seconds (Phrygian mode was always reserved in the Medieval music for funeral associations).

Right from the start, this Mazurka opens with two very chromatic voices. The main, sequentially repeated theme contains features of a very lyric Kujawiak (koo-YAH-vyahk; see notes from the G minor Mazurka here:    • Demonstration - Chopin's Mazurka in G...  ), but culminates in a typical dotted gesture, emphasizing the heroic aspect of the Mazur (MAH-zuhr; a "mazurka" is the diminutive of the larger, more symphonic "mazur").

The contrasting section in measure 21 teases with the playful character of a true mazurka. Similarly, the fragment in unison octaves starting at measure 54 represents the arch-like melodies of a Kujawiak, but yet transforms into the more rugged character of Oberek (oh-BEHR-ehk) in measure 58. This incredible juxtaposition of opposing dance gestures takes the listener on quite an emotional rollercoaster.

The next part is inspired by the courageous and fun Mazur. After the shortened version of the first part of the Mazurka that commences in measure 101, Chopin introduces the most introverted and depressing section from 117 until the end. The pervasive presence of many minor seconds here emphasizes a very dark and lonely message. It is even more emphasized in the very ending that just has only one single melodic line, with its final minor second "Phrygian" ending.