Chopin - Mazurkas Vol.1
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Label: Linn
Cat No: CKD780
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 5th September 2025
Contents
Works
Mazurka in B flat major, KK IIa/3Mazurka in B flat major, KK IVb/1
Mazurkas (51)
» no.1 in F sharp minor, op.6 no.1
» no.2 in C sharp minor, op.6 no.2
» no.3 in E major, op.6 no.3
» no.4 in E flat minor, op.6 no.4
» no.5 in B flat major, op.7 no.1
» no.6 in A minor, op.7 no.2
» no.7 in F minor, op.7 no.3
» no.8 in A flat major, op.7 no.4
» no.9 in C major, op.7 no.5
» no.14 in G minor, op.24 no.1
» no.15 in C major, op.24 no.2
» no.16 in A flat major, op.24 no.3
» no.17 in B flat minor, op.24 no.4
» no.30 in G major, op.50 no.1
» no.31 in A flat major, op.50 no.2
» no.32 in C sharp minor, op.50 no.3
» no.36 in A minor, op.59 no.1
» no.37 in A flat major, op.59 no.2
» no.38 in F sharp minor, op.59 no.3
» no.40 in F minor, op.63 no.2
» no.41 in C sharp minor, op.63 no.3
» no.45 in A minor, op.posth 67 no.4
» no.46 in C major, op.posth 68 no.1
» no.47 in A minor, op.posth 68 no.2
» no.48 in F major, op.posth 68 no.3
» no.49 in F minor, op.posth 68 no.4
Artists
Ingrid Fliter (piano)Works
Mazurka in B flat major, KK IIa/3Mazurka in B flat major, KK IVb/1
Mazurkas (51)
» no.1 in F sharp minor, op.6 no.1
» no.2 in C sharp minor, op.6 no.2
» no.3 in E major, op.6 no.3
» no.4 in E flat minor, op.6 no.4
» no.5 in B flat major, op.7 no.1
» no.6 in A minor, op.7 no.2
» no.7 in F minor, op.7 no.3
» no.8 in A flat major, op.7 no.4
» no.9 in C major, op.7 no.5
» no.14 in G minor, op.24 no.1
» no.15 in C major, op.24 no.2
» no.16 in A flat major, op.24 no.3
» no.17 in B flat minor, op.24 no.4
» no.30 in G major, op.50 no.1
» no.31 in A flat major, op.50 no.2
» no.32 in C sharp minor, op.50 no.3
» no.36 in A minor, op.59 no.1
» no.37 in A flat major, op.59 no.2
» no.38 in F sharp minor, op.59 no.3
» no.40 in F minor, op.63 no.2
» no.41 in C sharp minor, op.63 no.3
» no.45 in A minor, op.posth 67 no.4
» no.46 in C major, op.posth 68 no.1
» no.47 in A minor, op.posth 68 no.2
» no.48 in F major, op.posth 68 no.3
» no.49 in F minor, op.posth 68 no.4
Artists
Ingrid Fliter (piano)About
According to The Telegraph, ‘Ingrid Fliter was born to play Chopin’, such is her profound musicianship and affinity with the Polish composer. Here, the Gilmore Artist Award winner continues her highly acclaimed Chopin odyssey, which began over a decade ago, with the complete Mazurkas. This, the first of two volumes to be released on Linn, includes the early opp. 6 and 7, the op.24 as well as the later sets, opp. 50, 59 and 63. The programme reflects on the composer’s evolving style, from simple folk-inspired dances to brilliantly sophisticated, intimate works whose intricate counterpoint and harmonies often push the boundaries of the form and serve as a benchmark for the genre. Also included are some posthumous mazurkas which traverse Chopin’s entire compositional career.
Sound/Video
Paused
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1Mazurka in B flat major, WN7
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2Mazurka in C major, WN24
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3Mazurka in A minor, WN14
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4Mazurka in F major, WN25
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5Mazurka in B flat major, WN41
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6Mazurka in A minor, WN60
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7Mazurkas, op.6: No.1 in F sharp minor. Andante
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8Mazurkas, op 6: No.2 in C sharp minor. Sotto voce
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9Mazurkas, op 6: No.3 in E major. Vivace
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10Mazurkas, op 6: No.4 in E flat minor. Presto ma non troppo
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11Mazurkas, op 6: No.5 in C major. Vivo
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12Mazurkas, op.7: No.1 in B flat major. Vivace
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13Mazurkas, op.7: No.2 in A minor. Vivo, ma non troppo
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14Mazurkas, op.7: No.3 in F minor
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15Mazurkas, op.7: No.4 in A flat major. Presto
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16Mazurkas, op.24: No.1 in G minor. Lento
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17Mazurkas, op.24: No.2 in C major. Allegro non troppo
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18Mazurkas, op.24: No.3 in A flat major. Moderato con anima
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19Mazurkas, op.24: No.4 in B flat minor. Moderato
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20Mazurkas, op.50: No.1 in G major. Vivace
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21Mazurkas, op.50: No.2 in A flat major. Allegretto
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22Mazurkas, op.50: No.3 in C sharp minor. Moderato
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23Mazurkas, op.59: No.1 in A minor. Moderato
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24Mazurkas, op.59: No.2 in A flat major. Allegretto
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25Mazurkas, op.59: No.3 in F sharp minor. Vivace
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26Mazurkas, op.63: No.2 in F minor. Lento
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27Mazurkas, op.63: No.3 in C sharp minor. Allegretto
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28Mazurka in F minor, WN65
Europadisc Review
More than a decade after staking her claim as one of today’s leading Chopin players, with outstanding performances of the Piano Concertos and Preludes (followed in 2018 by an equally impressive disc of the Nocturnes), Argentinian pianist Ingrid Fliter is back. This time she presents the first volume of a two-disc survey of the composer’s Mazurkas. While not perhaps as high-profile as Chopin’s Ballades, Preludes, Etudes or Nocturnes, this genre was one to which he returned throughout his life, with some 57 surviving examples, mostly in sets, dating from the mid-1820s to just a few months before his death at the age of 39 in October 1849.
Chopin was not the first Polish composer to write mazurkas – a triple-time form based on stylised folk dances, with disruptive accents on the second or third beat, and often a dotted figure on the first – but he raised it to the status of true art-music with an unprecedented level of harmonic sophistication. Sometimes – as in the op.24 set of 1834–35 included here – he employed the slow kujawiak and lively oberek variants, even alternating them within a single piece, while in the mid-1840s he added contrapuntal imitation to his compositional arsenal, creating a further layer of artfulness.
Famously, Chopin wrote of his first published set of Mazurkas (op.6, published in 1832) that they were ‘not for dancing’. Fliter, playing on a Fazioli instrument recorded in June 2024 in Sacile, Italy, understands the need for expressive freedom in these works, yet she never loses sight of the underlying rhythmic poise that is a legacy of the genre’s folk dance origins. Even at their most expansive, there’s a subtle momentum to these performances which sweeps the listener along.
The disc opens with four of Chopin’s earliest mazurkas, all composed in Warsaw before 1830. They include the motivically connected B flat and A minor pieces, WN7 and WN14, and the C major Mazurka, WN24, where she has great fun teasing with the rhythms and the knottily-textured chords. Loveliest of these early pieces in the F major Mazurka, WN25, with its final interlude a sparkling, high-lying imitation of a hurdy-gurdy. The B flat major Mazurka, WN41, is a product of Chopin’s early Parisian years, its forthright main subject evocative of salon dance gatherings, while the Mazurka in A minor, WN60, dates from 1846/47, beginning with a hint of turbulence, but becoming increasingly wistful.
Fliter then proceeds to complete sets, ordered chronologically. The op.6 and op.7 sets of the early 1830s already show a marked harmonic adventurousness. Op.6 no.1 in F sharp minor deploys a seriousness of tone that seems like a marker, while op.6 no.2 in C sharp minor (marked Sotto voce) opens with a folk-like drone before entering into a haunting ballroom dance. Fliter is superb in both these and the succeeding three livelier pieces, giving each work its own distinctive character.
Opus 7 is another set which opens with clear intent in the B flat piece which, marked Vivace, is delivered here with the perfect degree of poise, and its tonally ambiguous third section is exotically mysterious. More enthralling still is the third piece of the set, in F minor, where Fliter’s use of rubato is especially well-judged. The set ends with a perky A flat major Presto.
In op.24 the advantages of presenting these works as complete sets is even more apparent, with the outer works – both in the more reflective kujawiak mode – more structurally weighted. The third piece, in A flat major, is especially beguiling, played with an ideal blend of tenderness and warmth. The uncanny, creeping octaves that launch the concluding B flat minor Mazurka show Fliter’s command of touch and tone at its most spellbinding.
The op.50 set (1841–42) launches itself splendidly with a G major Vivace, in which subtle rhythmic inflection makes this performance especially enjoyable. The third and final piece in the set, in C sharp minor, is a prime example of Chopin’s use of imitative counterpoint, and here the different ‘voices’ are superbly delineated in one of the composer’s most expansive works in the genre. Further diversification is to be found in the opening A minor piece of op.59 (1845), with its elongated 12-bar phrase structure, while the way in which the reprise of the following A flat Allegretto eventually dissolves shows Chopin’s genius at its most original.
Just two of the final published set, op.63 (1846), are included here: the deeply moving no.2 in F minor, and the nostalgia-tinted no.3 in C sharp minor. Presumably the first piece of the set will be included in volume 2, which we eagerly look forward to. The disc closes with the F minor Mazurka of 1848/49, which is given a particularly touching performance here, every phrase lovingly unfolded, yet never tipping into over-indulgence. It’s the perfect close to a splendidly played disc, vividly recorded, and further enhanced by concise but informative booklet notes from the doyen of british Chopin experts, Jim Samson. Recommended without reservation!
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