Ein sehr interessanter Beitrag über die Schwierigkeiten der Mazurka-Interpretation aus der heutigen Ausgabe des Wettbewerbs-Journals (unglaublich, was die alles machen):
http://konkurs.chopin.pl/en/edition/xvi/competition/magazine
--> Weiss jemand, auf wen sie anspielen bzgl. der schlechtesten Mazurka-Interpretation in der 2. Runde? (Ende des Artikels)
A trap called Mazurka
Chopin’s Mazurkas are a mixture of simplicity
and subtlety. They are drawn from a folk pattern
but are full of nuances that must be executed
properly, or else artistic disaster is just round the
corner. What are the dangers, then?
You cannot properly play a dance you have never
danced. You need to know where a leap and
when a landing is, and you must remember that
a dancer can’t stop in mid air. “Mazurka” actually
describes the group of dances consisting of Mazur,
Kujawiak and Oberek. Each species has different
steps, tempos and accents. You need to know and
recognise each one, as Chopin often makes use of
all of them within a single movement.
Mazurkas are notated in 3/4 time, like waltzes,
but you play them in a different way – the trick
is to put the accents in the right places. Rhythm
is another trap: Chopin notates similar rhythms
with or without rests, and you play those differently:
the dancers have their feet on ground where
there are no rests, and they jump if the rests are
present.
Polish folk music knows no polyphony. Chopin
was well aware of that, but sometimes there are
several melodies sounding at the same time, as if
his mind was teeming with musical thoughts. It
is not counterpoint in the sense of Bach. Now, go
for it! The worst rendering of mazurkas in the second
stage came from a pupil of one of the Jury
members, who in turn won Mazurka Prize few
decades ago. Have we lost something? I hope we
find it again before it’s too late!
Dafür spielt Claire Huangci gleich zwei Sonaten...
