They represent a lyrical diary – a confession of his unending love for his motherland. The mazurkas accompanied Chopin throughout his life. Here, the A-B-A form is expanded, and the ever-changing harmonic scheme is perhaps a window into the compositional advances of the second half of the nineteenth century. 54 (1843) open the road to new compositional and pianistic insights.
The brilliant intuitions presented by the Scherzo in E Major, Op. 60 (1845-46), Chopin experiments with a new approach to ternary structure, hinting at the juxtaposition found in the sonata form, but expanding the scope of thematic development by introducing two motifs presented in utter simplicity, often in piano or pianissimo, eventually recapitulated and re-proposed in symphonic incarnations in forte or fortissimo. Chistiakova chose to alternate each of the three major works she selected with a set of mazurkas, contrasting the magnificence of large forms with brief, often intimate pages. 6 and 7 to the pinnacle of extraordinary pianism that is the Barcarolle, Op.
In this new album, Russian pianist Galina Chistiakova offers a program that spans Chopin’s entire compositional career, from the early Mazurkas, Opp.
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