Mazurka Opus 56, #3

By: F. Chopin
For: String orchestra
page one of Mazurka Opus 56, #3

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Mazurka Opus 56, #3


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F. Chopin
Year of composition
Moderate (Grades 4-6)
6 minutes
Classical music
License details
For anything not permitted by the above licence then you should contact the publisher first to obtain permission.

This beautiful classic requires a strong Viola section. The Solo Violin near the end will delight those who appreciate the Mazurka.

Keep in mind that the MP3 is my interpretation of a performance. I have the following comments to make about the programmed performance (the MP3) and the present edition of this score:

The MP3 representation uses a "thick" orchestra - meaning more than 40 players total for all 5 sections. If you have a smaller group there are some divisi which may be ignored, and particularly where double-stops might otherwise be required, but still manageable. When divisi is not indicated - I have included fingering for some of the double-stops. They may be modified by the performers, or director, as is practicable. Conversely, divisi may be used where I have not indicated it, should it facilitate a more balanced sound with your group, or otherwise is preferred.

The dynamics and phrasing have the highest priority, and tempo, fingering, and various techniques may be used which may be appropriate in an actual performance.

A Soloist, to wit "first chair", for each section has been programmed into the performance to provide a more realistic sound, particularly when some effect begged to be brought out.

About the score: Letter E thru F allows the 2nd Violins to shine, similarly the 1st Violins - G thru I; Violas - I thru J, 1st Violins again at letter J have a wonderful moment. The Bass Viols have a opportunity to predominate just before letter L and again at N, measure 169. Measure 136 has the highest notes the Bass Viols are being asked to play. Switching with the ’cellos here is possible and I puzzled over it, but left the line as it was.

Letter O for the Bass Viol is crucial and should be played smoothly, without grinding the strings, with less, but consistent, pressure on the bow. The reason for this is that the transition to ’cellos at measure 181 should be as seamless as possible. This is an important transistion in the work at letter O thru P, just before the Solo Violin makes their grand entrance. I have assigned the first chair violinist as soloist in the programming of the piece. You hear the first chair violinist throughout the work, but I bring the track forward in 3-dimensional space, closer to the audience.

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