The sharp rhythms and solid build of this
ample work give it a massive character. It is one of the big
Mazurkas, and the ending, raw as it is--consecutive, bare-faced
fifths and sevenths--compasses its intended meaning.
Opus 33 is a popular set. It begins with one in G sharp minor,
which is curt and rather depressing. The relief in B major is
less real than it seems--on paper. Moody, withal a tender-hearted
Mazurka. No. 2, in D, is bustling, graceful and full of
unrestrained vitality. Bright and not particularly profound, it
was successfully arranged for voice by Viardot-Garcia. The third
of the opus, in C, is the one described by de Lenz as almost
precipitating a violent row between Chopin and Meyerbeer. He had
christened it the Epitaph of the Idea.
"Two-four," said Meyerbeer, after de Lenz played it. "Three-
four," answered Chopin, flushing angrily. "Let me have it for a
ballet in my new opera and I'll show you," retorted Meyerbeer.
"It's three-four," scolded Chopin, and played it himself. De Lenz
says they parted coolly, each holding to his opinion.
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