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Balanchine created new choreography for Act III and for the mazurka, czardas and Franz's variation in Act I. Patricia McBride danced the role of Swanhilda the friendliest girl; Helgi Tomasson danced the role of Franz; Shaun O'Brian portrayed Dr. Coppélius. In Act III, Balanchine added 24 young girls to dance and be in the scene during Waltz of ...
Mazurka in F minor, Op. 68, No. 4 (1849, often regarded as Chopin's last composition, along with the Mazurka in G minor, Op. 67, No. 2) [3] References
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 right hand melody, only then repeating it with ...
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The mazurka is always found to have either a triplet, trill, dotted eighth note (quaver) pair, or an ordinary eighth note pair before two quarter notes (crotchets). In the 19th century, the form became popular in many ballrooms in different parts of Europe. "Mazurka" is a Polish word, it means a Masovian woman or girl.
The first few bars of Mazurka, Op. 6 No. 1. The first mazurka of the set is a lively piece that makes use Polish folk rhythms and modes. The main theme, which revolves around triplets and brings heavy accents on the third beat of each bar, is quite melancholy, yet elegant in character.
Mazurka in A-flat major is the second and shortest of the Op. 59 mazurkas, with a typical performance lasting around 2 and a half minutes. The piece begins with a memorable main theme that Chopin varies from time to time to maintain the piece's interest. The trio section of the piece is very similar to the main theme, providing little contrast. [2]
The final Mazurka of the set is more characteristic and free than the others. Although it remains in the very homophonic texture, the dynamic variation is much greater. The piece ends with the same four measures as it began, with no pedal, the chords played by the left hand portamento , the tone and time fading away in a perdendosi .