Chopin, 4 Mazurkas (No.42~45), Op.posth.67 No.1~4 (Rosenthal, Jonas, Vásáry, François) скачать в хорошем качестве

Chopin, 4 Mazurkas (No.42~45), Op.posth.67 No.1~4 (Rosenthal, Jonas, Vásáry, François)

Frédéric Chopin's 4 Mazurkas (No.42~45), Op.67 No.1~4, with synchronized sheet music (score), and theme and structure analysis. Performance Moriz Rosenthal (piano), 1931-1937 (Op.67-1) Samson François (piano), 1956/02/16-17 & 03/05-06, 20-22 Mono, Salle de Mutualité, Paris Tamás Vásáry (piano), 1965/06 Stereo, Beethoven-Saal, Hannover (Op.67-3) Maryla Jonas (piano), 1949/09/19, 20 Mono, Columbia 30th Street Studio, New York City (Op.67-4) Analysis, Score Editing, Synch: ScoreMan 00:00 Mazurkas No.42 in G major, Op.67-1 (Rosenthal) 01:16 Mazurkas No.43 in G minor, Op.67-2 (François) 02:23 Mazurkas No.44 in C major, Op.67-3 (Vásáry) 03:47 Mazurkas No.45 in A minor, Op.67-4 (Jonas) OVERVIEW The 4 Mazurkas, Op.67 (Nos.42–45) were published after Chopin’s death in 1855 by Julian Fontana, Chopin’s close friend and editor. Unlike the earlier mazurka sets, these are not a unified set but a retrospective collage of Chopin’s career — from youthful folk charm (1835) to the poignant depths of his final years (1849). They hold special historical value as both musical diary and emotional testament, particularly the heartbreaking G minor mazurka. HISTORICAL CONTEXT The early mazurkas (1835) were written during Chopin’s happy years in Paris, shortly after his arrival and early successes. They are light, elegant, and folk-inspired. The later mazurkas (1846–1849) were created during a time of illness, fatigue, and personal struggle (including the end of his relationship with George Sand). These pieces are more introspective, harmonically daring, and emotionally concentrated. Because Fontana published them as a set, they represent a kind of “journey” from youth to maturity, even if Chopin never intended them that way. MUSICAL CHARACTER No.1 in G major (1835) – Cheerful, bright, and rustic in character. It reflects the simple charm of folk dance, with light rhythms and a sense of innocence. No.2 in G minor (1849) – Deeply moving, often described as Chopin’s last mazurka (though there are also later sketches). It is somber, reflective, and almost fragile — as if drained of strength, yet profoundly expressive. Many interpret it as a kind of farewell. No.3 in C major (1835) – Light, playful, and spirited. Like No.1, it recalls Chopin’s youthful vitality, with rhythmic bounce and uncomplicated charm. No.4 in A minor (1846) – Subtler and more complex. It has a wistful, melancholy tone, enriched with chromaticism and expressive rubato. It feels like a bridge between the earlier folkloric style and Chopin’s late inwardness. MUSICAL SIGNIFICANCE Document of a lifetime: Unlike Chopin’s other mazurka sets, Op.67 captures his art at different ages, showing the evolution from youthful brilliance to late, distilled poetry. Polish identity: As always, the mazurka rhythm (with accents on the second or third beat, and folk-derived melodic turns) keeps alive Chopin’s ties to Poland. Final voice: The G minor Mazurka, Op.67 No.2, is especially significant as a last artistic testament — intimate, subdued, and profoundly personal, as if written for himself alone. Miniature masterworks: Even in their brevity, these pieces show how Chopin could transform a humble folk dance into a work of universal expression. ✨ Beethoven's Masterpieces (sorted by Opus)    • L. v. Beethoven's Masterpieces   🎶 Beethoven Symphonies    • L. v. Beethoven - 9 Symphonies   ✨ Chopin's Masterpieces (sorted by Opus)    • F. Chopin's Masterpieces   🎶 Chopin Mazurkas    • F. Chopin - 21 Mazurkas   🎶 Chopin Polonaises    • F. Chopin - 19 Polonaises   🎶 Chopin Nocturnes    • F. Chopin - 22 Nocturnes   🎶 Chopin Waltzes    • F. Chopin - 19 Waltzes   🎹 Piano Sonata Collections    • Piano Sonata Collection   🎹 Piano Concerto (Piano & Orchestra) Collections    • Piano Concerto Collection   🎻 Violin Concerto (Violin & Orchestra) Collections    • Violin Concerto Collection