Sergei Bortkiewicz- Three Mazurkas, Op. 64

Unlike his contemporary Alexander Scriabin, Bortkiewicz didn't write many mazurkas. Most are placed in sets of other piano pieces. Opus 64 is the exception. These three exquisite miniatures all have something unique to offer. 0:09 (Nadejda Vlaeva) The first mazurka in A minor is very melodic and dripping with melancholy. It follows a standard ABA structure with a codetta at the end. 2:24 (Clark Bryan) The second in E is very different in tone and aches with nostalgia. It features chromatic mediant modulations. The beautiful bel canto melody has a resemblance to the third prelude from op. 40 and op. 11 no. 3. The second restatement of the theme surprises the listener when it suddenly modulates a major third downward to C. The middle section in A-flat is a more typical mazurka rhythm. 5:02 (Christian Kliber Alsing) The third in G-flat feels more like a typical mazurka. It is less lyrical than the previous and is heavier. And unlike the previous 2, the first section never appears again. The coda adds some virtuosic flair.