Mazurka Op. 17 No. 4
Adriana von Franqué performs Frédéric Chopin
Single Release
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GEN 24907d EAN: 4262380229747
4.4.2025
Release in April 2025
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Available on all streaming and download platforms
The "Mazurka No. 4 in A minor, Op. 17" by Frédéric Chopin gently emerges from silence and unfolds one of the composer's most melancholy and thoughtful melodies. These nostalgic passages, which feature elements of Kuyavian and oriental music, are contrasted by a lively, dance-like section. As part of the first series of mazurkas that Chopin composed after his arrival in Paris in the fall of 1831, this work could possibly reflect his deep feelings after the failure of the Polish uprising of 1830.
More singles by Adriana von Franqué:
Frédéric Chopin: Mazurka Op. 30 No. 2
In Frédéric Chopin's "Mazurka Op. 30 No. 2 in B minor", the composer's artistic sophistication is condensed into a miniature that lasts barely longer than a minute. Composed around 1837, the mazurka captivates with its peculiarly melancholy liveliness, which is expressed in an interplay of dynamics between piano and forte, supported by the unusual structure and tonal flexibility: Chopin allows the opening theme to be heard only once and ends a persistently recurring motif surprisingly in F sharp minor.
Simon Laks: Jezusek
Simon Laks' version of the Polish Christmas carol "Jezusek" (Little Jesus) is a real gem that was only recently rediscovered as part of the complete recording of Laks' carols. The song is based on the Polish pastoral "Oj maluśki, maluśki" and hints at the future suffering of the Christ child with a sophisticated use of chromaticism and passing notes in the piano accompaniment, without robbing the melody any of its warmth. The work, which was probably composed around 1838, is performed here in an arrangement for piano by Holger Groschopp.
Erik Satie: Gnossienne Nr. 1
Erik Satie's well-known "Gnossienne No. 1" is characterized by its mysterious and enraptured atmosphere. It is part of the poetic "Gnossiennes" written around 1890 in impoverished surroundings, which brought Satie's breakthrough decades later and transformed him from a ridiculed cabaret pianist into a mentor of the avant-garde. He deliberately chose the nebulous term Gnossiennes to give the pieces a mysterious, antique aura, supported by enigmatic text fragments between the lines of music.
Claude Debussy: Clair de Lune aus Suite bergamasque
Clair de Lune is one of Claude Debussy's best-known works and is the third movement of his Suite bergamasque. The title, which means ‘moonlight’ in French, reflects the gentle and dreamy atmosphere of the piece and probably refers to the poem of the same name by Paul Verlaine. Although already composed around 1890, the suite was not published until 1905 and enjoys great popularity today due to the use of Clair de Lune in particular in numerous film productions.
The "Mazurka No. 4 in A minor, Op. 17" by Frédéric Chopin gently emerges from silence and unfolds one of the composer's most melancholy and thoughtful melodies. These nostalgic passages, which feature elements of Kuyavian and oriental music, are contrasted by a lively, dance-like section. As part of the first series of mazurkas that Chopin composed after his arrival in Paris in the fall of 1831, this work could possibly reflect his deep feelings after the failure of the Polish uprising of 1830.
More singles by Adriana von Franqué:
Frédéric Chopin: Mazurka Op. 30 No. 2
In Frédéric Chopin's "Mazurka Op. 30 No. 2 in B minor", the composer's artistic sophistication is condensed into a miniature that lasts barely longer than a minute. Composed around 1837, the mazurka captivates with its peculiarly melancholy liveliness, which is expressed in an interplay of dynamics between piano and forte, supported by the unusual structure and tonal flexibility: Chopin allows the opening theme to be heard only once and ends a persistently recurring motif surprisingly in F sharp minor.
Simon Laks: Jezusek
Simon Laks' version of the Polish Christmas carol "Jezusek" (Little Jesus) is a real gem that was only recently rediscovered as part of the complete recording of Laks' carols. The song is based on the Polish pastoral "Oj maluśki, maluśki" and hints at the future suffering of the Christ child with a sophisticated use of chromaticism and passing notes in the piano accompaniment, without robbing the melody any of its warmth. The work, which was probably composed around 1838, is performed here in an arrangement for piano by Holger Groschopp.
Erik Satie: Gnossienne Nr. 1
Erik Satie's well-known "Gnossienne No. 1" is characterized by its mysterious and enraptured atmosphere. It is part of the poetic "Gnossiennes" written around 1890 in impoverished surroundings, which brought Satie's breakthrough decades later and transformed him from a ridiculed cabaret pianist into a mentor of the avant-garde. He deliberately chose the nebulous term Gnossiennes to give the pieces a mysterious, antique aura, supported by enigmatic text fragments between the lines of music.
Claude Debussy: Clair de Lune aus Suite bergamasque
Clair de Lune is one of Claude Debussy's best-known works and is the third movement of his Suite bergamasque. The title, which means ‘moonlight’ in French, reflects the gentle and dreamy atmosphere of the piece and probably refers to the poem of the same name by Paul Verlaine. Although already composed around 1890, the suite was not published until 1905 and enjoys great popularity today due to the use of Clair de Lune in particular in numerous film productions.
The "Mazurka No. 4 in A minor, Op. 17" by Frédéric Chopin gently emerges from silence and unfolds one of the composer's most melancholy and thoughtful melodies. These nostalgic passages, which feature elements of Kuyavian and oriental music, are contrasted by a lively, dance-like section. As part of the first series of mazurkas that Chopin composed after his arrival in Paris in the fall of 1831, this work could possibly reflect his deep feelings after the failure of the Polish uprising of 1830.
More singles by Adriana von Franqué:
Frédéric Chopin: Mazurka Op. 30 No. 2
In Frédéric Chopin's "Mazurka Op. 30 No. 2 in B minor", the composer's artistic sophistication is condensed into a miniature that lasts barely longer than a minute. Composed around 1837, the mazurka captivates with its peculiarly melancholy liveliness, which is expressed in an interplay of dynamics between piano and forte, supported by the unusual structure and tonal flexibility: Chopin allows the opening theme to be heard only once and ends a persistently recurring motif surprisingly in F sharp minor.
Simon Laks: Jezusek
Simon Laks' version of the Polish Christmas carol "Jezusek" (Little Jesus) is a real gem that was only recently rediscovered as part of the complete recording of Laks' carols. The song is based on the Polish pastoral "Oj maluśki, maluśki" and hints at the future suffering of the Christ child with a sophisticated use of chromaticism and passing notes in the piano accompaniment, without robbing the melody any of its warmth. The work, which was probably composed around 1838, is performed here in an arrangement for piano by Holger Groschopp.
Erik Satie: Gnossienne Nr. 1
Erik Satie's well-known "Gnossienne No. 1" is characterized by its mysterious and enraptured atmosphere. It is part of the poetic "Gnossiennes" written around 1890 in impoverished surroundings, which brought Satie's breakthrough decades later and transformed him from a ridiculed cabaret pianist into a mentor of the avant-garde. He deliberately chose the nebulous term Gnossiennes to give the pieces a mysterious, antique aura, supported by enigmatic text fragments between the lines of music.
Claude Debussy: Clair de Lune aus Suite bergamasque
Clair de Lune is one of Claude Debussy's best-known works and is the third movement of his Suite bergamasque. The title, which means ‘moonlight’ in French, reflects the gentle and dreamy atmosphere of the piece and probably refers to the poem of the same name by Paul Verlaine. Although already composed around 1890, the suite was not published until 1905 and enjoys great popularity today due to the use of Clair de Lune in particular in numerous film productions.