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The Mazurkas Russell Sherman, Piano

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The Mazurkas Russell Sherman, Piano Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. 20 Job Title Page No. 1 Fold Also available from Russell Sherman on Avie… Fryderyk Chopin The Mazurkas Russell Sherman, piano 119.5 Claude Debussy Estampes Images, Book II Franz Liszt Préludes, Book II AV2164 (Compact Disc) Études d’exécution transcendante with interviews and teaching excerpts AV2174 (DVD Video) 120.5 PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. 2 Job Title Page No. 3 Fold Fryderyk Chopin (1810-1849) The Mazurkas CD 1 .................................................................66:43 CD 2 .................................................................59:08 1 Op. 6, No. 1 ...........2:25 16 Op. 24, No. 3 ..........2:02 1 Op. 50, No. 1 ..........2:18 12 Op. 63, No. 3 ..........2:06 2 Op. 6, No. 2 ...........1:36 17 Op. 24, No. 4 ..........4:13 2 Op. 50, No. 2 ..........2:49 13 Op. 67, No. 1 ..........1:14 3 Op. 6, No. 3 ...........1:42 18 Op. 30, No. 1 ..........1:38 3 Op. 50, No. 3 ..........5:00 14 Op. 67, No. 2 ..........2:16 4 Op. 6, No. 4 ...........0:53 19 Op. 30, No. 2 ..........1:11 4 Op. 56, No. 1 ..........4:48 15 Op. 67, No.3 ..........1:22 119.5 5 Op. 7, No. 1 ...........1:43 20 Op. 30, No. 3 ..........2:23 5 Op. 56, No. 2 ..........1:36 16 Op. 67, No.4 ..........2:45 6 Op. 7, No. 2 ...........3:20 21 Op. 30, No. 4 ..........3:11 6 Op. 56, No. 3 ..........5:53 17 Op. 68, No. 1 ..........1:37 7 Op. 7, No. 3 ...........1:55 22 Op. 33, No. 1 ..........1:55 7 Op. 59, No. 1 ..........3:39 18 Op. 68, No. 2 ..........3:09 8 Op. 7, No. 4 ...........1:19 23 Op. 33, No. 2 ..........2:16 8 Op. 59, No. 2 ..........2:23 19 Op. 68, No. 3 ..........1:23 9 Op. 7, No. 5 ...........0:43 24 Op. 33, No. 3 ..........1:55 9 Op. 59, No. 3 ..........3:34 20 Op. 68, No. 4 ..........2:01 10 Op. 17, No. 1 ..........2:08 25 Op. 33, No. 4 ..........4:50 10 Op. 63, No. 1 ..........2:08 21 KK II b No. 4 ...........3:04 11 Op. 17, No. 2 ..........2:06 26 Op. 41, No. 1 ..........2:20 11 Op. 63, No. 2 ..........1:49 22 KK II b No. 5 ...........2:07 12 Op. 17, No. 3 ..........4:13 27 Op. 41, No. 2 ..........1:04 13 Op. 17, No. 4 ..........4:19 28 Op. 41, No. 3 ..........1:30 14 Op. 24, No. 1 ..........1:59 29 Op. 41, No. 4 ..........3:53 Russell Sherman, piano 15 Op. 24, No. 2 ..........1:55 120.5 PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. 4 Job Title Page No. 5 Fold Not to be danced oberek, in a very rapid tempo, lively in character, strongly and quite irregularly by Jim Samson accentuated) were gathered into a single national genre. It was danced on the stage and it was performed—in both vocal and instrumental forms—in the Prior to the nineteenth century the mazurka appeared from time to salons. It is usually possible to identify which of the regional prototypes informs time in early lute and organ tablatures, but it conspicuously lacked the kind of these early nineteenth-century mazurkas, but they could also invade each other’s significant history in art music that we associate with the polonaise, which was territory, and at times (especially in Chopin) their various idiomatic properties taken up by composers everywhere in the eighteenth century. This is not without were fused into a single composite style. significance. It meant that the mazurka was available for nationalist appropriation Chopin had just completed his studies in Warsaw when the poet and critic right at the start of the nineteenth century, whereas the polonaise, essentially a Kazimierz Brodziński published his short pamphlet O tańcach (Warszawa, 1829). cosmopolitan genre exhibiting a certain couleur locale, had to be re-invented. This In this essay Brodziński attributed a profound significance to national dances, is no doubt why Chopin abandoned the polonaise for a time, and also why there 119.5 assigning them a generative role in creativity, and following Herder in viewing is a very clear generic distinction between the polonaises composed in Warsaw them as somehow emblematic of the spirit of the nation. Chopin was certainly and those composed in Paris, from Op. 26 onwards. familiar with Brodziński’s thought and even claimed to have attended some of In the first three decades of the nineteenth century mazurkas were written his lectures at the University. It seems possible, then, that Brodziński may have by almost all Polish composers: Karol Kurpiński, Józef Elsner, Ignacy Feliks played some part in shaping Chopin’s understanding of what he himself would Dobrzyński, Maria Szymanowska and others. Chopin’s earliest mazurkas belong later call ‘our national music’. But whether or not this was the case, there is plenty to this world. Before he left Warsaw for good in November 1830 he had already of evidence, including the evidence of the music itself, that in his final year in committed to paper at least five, and possibly six, of them (three were published Warsaw Chopin’s attitude to composing and performing changed subtly but posthumously as 1–3 of the Op. 68 cycle), and he had no doubt improvised many irreversibly, and that these changes crystallised into something qualitative when more. It was at just this time that the mazurka made its way from region to nation. he left Poland in November 1830. This was by no means only, or even primarily, Certain distinctive regional types (the mazur, in a medium tempo and with about national dances. But it may well be that the combined effects of Brodziński’s strong irregular accentuation; kujawiak, a slow dance with a singing, sentimental intellectual agenda (notably on the deeper significance of the dances), the melody and a weak, irregular accentuation of the second part of the bar; and political reality of the uprising (which broke out exactly a month after Chopin left 120.5 PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR PLEASE NOTE THIS TEMPLATE HAS BEEN CREATED USING SPECIFIC CO-ORDINATES REQUIRED FOR COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. COMPUTER TO PLATE IMAGING AND IS NOT TO BE ALTERED, MOVED OR THE DOCUMENT SIZE CHANGED. ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES ALL DIMENSIONS ARE IN MILLIMETRES. BLEED ALLOWANCE OF 3MM ON TRIMMED EDGES Key: CTP Template: CD_1PD2 CTP Template: CD_1PD2 COLOURS No text area Compact Disc Booklet: Single Facing Page Compact Disc Booklet: Single Facing Page CYAN MAGENTA Customer Customer YELLOW Bleed Catalogue No. Catalogue No. BLACK Trim Job Title Page No. 6 Job Title Page No. 7 Fold Poland), and the effects of displacement (always a powerful catalyst to nationalist counterpoint in this latter mazurka, like the density of information within its sentiments), worked to transform his approach to the mazurka during the Vienna apparently simple texture, is symptomatic of the considerable advance these early and early Paris years. published mazurkas made over his earlier attempts. It is not far-fetched to view With Opp. 6 and 7, the first mazurkas he composed after leaving Poland and these two sets as the first canonic repertory of European nationalism, predating the first he himself published (in 1832), Chopin signalled a new-found ambition the relevant works of Glinka by several years, and inaugurating a century of for the genre. By presenting these mazurkas in sets of four or five pieces, he romantic nationalism in art music. They registered (in intention and reception) a consolidated the genre, and in a sense defined it for art music. He even spelt principle of authenticity which ceded privileged understanding of the traditional out that these pieces were ‘not for dancing’, which tells us something about how repertory on the basis of nationality. At the same time, and this is the paradox he viewed his earlier mazurkas.
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