Hi Guys, after 10X a day training........this is what i get for you to enjoy. Especially to Chris Breemer. My name is not Chopin, but I learned from him to dedicate my)his) music to "people". Please enjoy......

Note. Chopin used the word Mazurka and ideas for his composition, by all means this should not be used or compared in "actual" dance. thanks

I believe this is one of the hardest Mazurkas, both technically and interpretatively (spelling ?). Hats off for everyone who dares to record it.

You have most of the notes, which is a good start, but it seems to me there is a lot more work to do (this one probably requires a 20-time a day drill ). The tempo is hardly Vivace (more like Allegretto), the rhythm is jerky (especially in the middle section), the LH chords ill-defined, the middle voice almost non-existent, the trills unsteady, and you seem to omit a lot of notes especially in the RH (or perhaps they are just not audible, I have the same problem sometimes). The important 3rd beat accents are not heard, and I think you need to work a bit more on the dynamics.

Not sure whether you suggest that Mazurkas have nothing to do with dance (your writing tends to be confusing) but I think they do, and this one is a jolly romp. It definitely needs to be more vivacious even if that means taking risks. This is actually one that you can throw caution to the winds and let rip. It still feels like dutifully going through the notes. In the coda, you observe neither the accellerando or the smorzando (it's very difficult, I know...), or the crescendo in the closing bars. That pause before the closing note sounds rather clumsy (you could cut that out with your software ).

Well sorry for all the niggles, but I always give everyone the good, the bad and the ugly. I know you can do better than this.

Hi Johnmar,
Techneut is right that this could go a bit faster. I hate to say that because it's so (%#&@) (that's a swear word) hard to play super fast. Do we really know how fast Chopin's vivace was, I wonder? Is it written down anywhere what number on the metronome?

Anyway, yes- the accents on the third beats. My score shows them on practically every measure except when it drops down to pp. And if you could get the trills or grace notes to come off better the whole piece would be more...light, graceful, perky, not sure what word I'm searching for. This is a happy little piece that puts a smile on the listeners face, especially at the very end. You're doing well with this so far. Just smooth it out a bit, (it's a little herky-jerky) and accent the third beats.

Just listened to Rubinstein's recording on http://classic.chubrik.ru/Chopin/Mazurkas_Rubin.html
In fact he plays it much the same tempo as John. A bit too laid back for my taste, but great freedom and exquisite dynamics and detail in his performances. I should really listen to all of these before continuing my recordings.

I second that! (for myself, not you )

Well I just listened to Evgeny Kissin play this as well as Rubinstein. Johnmar, you play it like Rubinstein, as far as the left hand. He plays with more of the jerky sound too, so what I said before must be wrong. Then I listened to Kissin and his left hand is less jerky. But, I think it may be the use of the pedal. Rubinstein seems to use no pedal and therefore it sounds dry and more jerky-like. The Kissin recording sounds like he uses more pedal, or maybe it's the reverb. I'm attaching the Kissin version to this post so you can hear what I'm talking about. I guess it's just a matter of personal taste.
[EDITED BY ROBERT, DELETED THE ATTACHMENT]

Yes, Rubinstein sounds a bit dry, and extremely free and relaxed to the point of being laid-back (I don't think he is 'jerky'). I would not necessarily want to ape him in everything - there can be a bit more tension and drama than he provides. But he is worth listening to, and learning from, for the sheer joie de vivre (bit of a cliche, that....) and after all, he is of Polish stock so there should be something special about his playing of Chopin's most 'Polish' works.

Kissin's is of course extremely good also, more brilliant and imperious but also a touch impatient and, dare I say it, diffident in places. Somewhere halfway between these two giants would seem just right to me.

Now, johnmar and pianolady, we know what we are up to ... we better get to practice

"Mazurkas r us"

Sorry pianolady but I really had to remove your attachment. The recording you attached is of course copyrighted and we cannot have that on our site.

Oops. Sorry, Robert. I forgot about that.

I like your playing, JM. It's very much in the spirit of Chopin. Of course, note errors and stuff like that are correctable with practice; you are apparantly diligent and disciplined in your practice habits. It seems that every time I hear you play, you improve. Your honesty and work ethic show. The occasional use of the metronome might help, but that's just more niggles! (I love that word.)

I would prefer a more relaxed tempo, with concentration on the rhythmic Mazurkaesque accuracy and plasticity of melodic line. More 'space' (if that makes sense) between soft and loud would help. Not all the notes need equal emphases. In a word, contrast.

Pierre

thanks for every one. I am very proud of my work. and your valuable critques.
To be honest, the only time I heard this music played(op33/2) was in one of the chopin festival on the TV, but played without piano. I was inspired by the tempo they USE--never mind if I played too slow or just right or like Rubestien tempo... I never listened to any other master played...but I will later on...when I got time??.

The ending was a bit controvesial..I did it my way..haaaa. I acclerated a bit and slowed down at the end. But somedays, I would play the ending a little calmer......

At least I have proved that I played with my own interpretation with out any reference......


Meanwhile, I will work a little on the middle voice-the thumb.

Ps, I noticed the third beat accent right from the beginning, its me that I dnt want to OVER accented since the notes(chord) itself has already got more notes than the second beat...check for youself), so in theory it should give a little more volume than the second beat naturally. Perhaps I should add a little more......2 %.

This is what I usually do too. It seems to have a certain artistic honesty. Yet, there is so much to be learnt by listening to the masters. My teacher insists one should not go and play any piece without listening to at least 3 different master interpretations, comparing them, and making up your mind what you want yours to sound like. I see the point of it, and yet I am not sure I agree with it.

thank Chris. I listened to RUbestein a minutes ago. Very artisitc, this is the masters. I should sort of listen to Igrid version.....


Back to what I said before about the chopin marzurka vs actual dance. I was reading the marzurka history 15 years ago -no bull when doing my conserv. diploma trainning.....It said in the score that chopins mazurka tempo was generally TOO fast for actual physical dance but purely for thye ideas ONLY. unless what I read is wrong and dnt beleive what you read??

Thast why at my playing I tried to play as happiers as I can but not rushing it. EVEN in the next ten years. I think I would ruied the happy melody if I go too vivance....

I just listened for the second time about Rubeinsteins playing....total time =2.48 vs mine 2.42.
I noticed that he had three differnt tempos. Very good and lots of flexiability and make your own rules as you like... I liked the ending bar where he slowed down even it does not mention on the score-schimers version. Just for this time, or Rubeins recording..he showed me or inspired me that excessive rubato is allowed or in his way in three(2) movements...........very good -----Thanks Chris.

This makes me wonder.....a more freedom is required and just imagine if you tried to dance with that mazurka....with vaiiable speed. This also backed up to my saying before---dnt use chopins marzurka vs actuall dance. Whats your opnion??????

Ps.Thanks for the recoding Chris thats wounderfullllllllll...

If Rubenstein used three different tempos, only he really knows why.

It can take a long time to undo the powerful bias one gets listening to recordings. I suggest listening to as many recordings as possible. There must be dozens of great recordings of Chopin's Mazurkas.

PF