CHOPIN'S DIARY: THE MAZURKAS
Jarred Dunn, piano
© ℗ 2024 Lexicon Classics - LC2401
Executive Producer: Gillian Riesen
Engineer: Piotr Wilmanowicz
Mixing: Cavatina Studio, Bielsko-Biała
Piano Technician: Tomasz Jachowicz
Artwork Design: Emitha LLC
Photography: Bo Huang Recorded at Cavatina Hall, Bielsko-Biała, August 22-25, 2023
TRACK LIST
DISC 1
1. Op. 6 No. 1 in F-Sharp Minor(2:55)
2. Op. 6 No. 2 in C-Sharp Minor (2:17)
3. Op. 6 No. 3 in E Major (1:47)
4. Op. 6 No. 4 in E-Flat Minor (0:56)
5. Op. 6 No. 5 in C Major (0:55)
6. Op. 7 No. 1 in B-Flat Major (2:20)
7. Op. 7 No. 2 in A Minor (3:54)
8. Op. 7 No. 3 in F Minor (2:17)
9. Op. 7 No. 4 in A-Flat Major (1:14)
10. Op. 17 No. 1 in B-Flat Major (2:01)
11. Op. 17 No. 2 in E Minor (1:49)
12. Op. 17 No. 3 in A-Flat Major (4:39)
13. Op. 17 No. 4 in A Minor (4:53)
14. Op. 24 No. 1 in G Minor (2:48)
15. Op. 24 No. 2 in C Major (1:57)
16. Op. 24 No. 3 in A-Flat Major (2:19)
17. Op. 24 No. 4 in B-Flat Minor (5:14)
18. Op. 30 No. 1 in C Minor (1:32)
19. Op. 30 No. 2 in F-Sharp Minor (1:10)
20. Op. 30 No. 3 in D-Flat Major (2:35)
21. Op. 30 No. 4 in C-Sharp Minor (3:43)
22. Op. 33 No. 1 in G-Sharp Minor (1:46)
23. Op. 33 No. 2 in C Major (1:47)
24. Op. 33 No. 3 in D Major (2:24)
25. Op. 33 No. 4 in B Minor (5:11)
26. Op. 41 No. 1 in E Minor (2:33)
27. Op. 41 No. 2 in B Major (1:17)
28. Op. 41 No. 3 in A-Flat Major (2:30)
29. Op. 41 No. 4 in C-Sharp Minor (3:56)
DISC 2
30. Op. posth. in A Minor, (à Emile Gaillard) (2:56)
31. Op. posth. in A Minor, "Notre Temps" (3:33)
32. Op. 50 No. 1 in G Major (2:36)
33. Op. 50 No. 2 in A-Flat Major (3:34)
34. Op. 50 No. 3 in C-Sharp Minor (5:48)
35. Op. 56 No. 1 in B Major (4:39)
36. Op. 56 No. 2 in C Major (1:34)
37. Op. 56 No. 3 in C Minor (6:29)
38. Op. 59 No. 1 in A Minor (4:13)
39. Op. 59 No. 2 in A-Flat Major (2:30)
40. Op. 59 No. 3 in F-Sharp Minor (3:24)
41. Op. 63 No. 1 in B Major (2:08)
42. Op. 63 No. 2 in F Minor (1:50)
43. Op. 63 No. 3 in C-Sharp Minor (2:11)
44. Op. 67 (Posthumous) No. 1 in G Major (1:17)
45. Op. 67 (Posthumous) No. 2 in G Minor (1:52)
46. Op. 67 (Posthumous) No. 3 in C Major (1:02)
47. Op. 67 (Posthumous) No. 4 in A Minor (3:24)
48. Op. 68 (Posthumous) No. 1 in C Major (1:52)
49. Op. 68 (Posthumous) No. 2 in A Minor (2:50)
50. Op. 68 (Posthumous) No. 3 in F Major (1:22)
51. Op. 68 (Posthumous) No. 4 in F Minor (2:27)
Chopin’s Diary: The Mazurkas is an album designed to reveal the composer's internal world. I have always known I would record Chopin’s Mazurkas. While playing them for the first time, I envisioned young Fryderyk learning to dance and first experiencing through his eyes and ears the instruments of Polish folk music. Chopin Mazurkas open our ears harmonic structures and melodic gestures uniquely dancelike. Understanding Chopin’s through his Mazurkas is comparable to understanding Beethoven through his Piano Sonatas: from Chopin’s first Mazurkas Op. 6 to the last Mazurkas of Opp. 56 and 59, Chopin is transformed. The transformation can be traced in three basic steps. In his early Mazurkas, Chopin shares with us his childhood memories of music, dancing, singing: memories that illuminated his childhood and through which he recalled it (Opp. 6, 7, 17). These works features the pulse, choreography and instrumentation of the mazurka, oberek, and kujawiak in their fundamental forms. The next four Mazurka cycles, from 1834-39, are nostalgic and moody: touched by żal (Opp. 24, 30, 33, 41). In the magnificent Mazurkas of 1842-45, Chopin’s memories bring tears to his eyes (Opp. 50, 56, 59, 63): there are moments of aguish touched by only the faintest rays of light. In the last opuses there are works found after Chopin’s death among his personal effects and works written in his youth: ranging from 1827-1849 (Op. 67, Op. 68). The Mazurkas were part of Chopin from his earliest days to his last.