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Mazurkas, Op. 41 (Chopin)

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right hand melody, only then repeating it with harmonization and then subjecting it to harmonic development in E major. Various episodes introduce new key areas, all very clearly marked off from one another, many developing the dotted rhythm idea from the main theme. The big dominant build-up to the climax is quite awe-inspiring both in its length (14 bars) and its ubiquitous use of dotted rhythms. In the 13 bar coda Chopin takes us back to C sharp minor and we enjoy the minor scale without the characteristic flattened supertonic of the Phrygian mode.
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The Mazurka in C-sharp minor should really have a subtitle: in the Phrygian mode for this is the special quality of its main theme and the crowning climax at the end. How Chopin incorporates the mode into the piece is fascinating: The mazurka starts with an outlining of the Phrygian scale as a solo
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The order here is the order in the first German edition. The first French and English editions placed the C-sharp minor mazurka last rather than first.
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The first mazurka is in C-sharp minor and has a time signature of 3/4. It also has the tempo marking:
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The final mazurka in the set is in A-flat major and has a time signature of 3/4. It also has the
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The second mazurka is in E minor and has a time signature of 3/4. It also has the tempo marking:
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The third Mazurka is in B major and has a time signature of 3/4. It also has the tempo marking:
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Index

original research
improve it
verifying
inline citations
Learn how and when to remove this message

mazurkas
piano
Frédéric Chopin
Stefan Witwicki
set to music as songs

adding to it

adding to it
tempo
Allmusic
Classical Archives
Internet Chopin Information Centre
IMSLP Score
No.1
No.2
No.3
No.4
Arthur Rubinstein
YouTube
Mazurkas, Op.41
International Music Score Library Project
v
t

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