Do not accuse
Chopin, for this is the sign-manual of his race. The Pole suffers
in song the joy of his sorrow.
II
The F sharp minor Mazurka of op. 6 begins with the characteristic
triplet that plays such a role in the dance. Here we find a
Chopin fuller fledged than in the nocturnes and variations, and
probably because of the form. This Mazurka, first in publication,
is melodious, slightly mournful but of a delightful freshness.
The third section with the appoggiaturas realizes a vivid vision
of country couples dancing determinedly. Who plays No. 2 of this
set? It, too, has the "native wood note wild," with its dominant
pedal bass, its slight twang and its sweet-sad melody in C sharp
minor. There is hearty delight in the major, and how natural it
seems. No. 3 in E is still on the village green, and the boys and
girls are romping in the dance. We hear a drone bass--a favorite
device of Chopin--and the chatter of the gossips, the bustle of a
rural festival. The harmonization is rich, the rhythmic life
vital. But in the following one in E flat minor a different note
is sounded.
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