what were polonaise and mazurka

Full Answer

What is the meaning of mazurka?

Definition of mazurka – 1 : a Polish folk dance in moderate triple measure. 2 : music for the mazurka or in its rhythm usually in moderate ³/₄ or ³/₈ time. What is the meaning of Polonaise and mazurka? National dance – The polonaise is a Polish dance and is one of the five historic national dances of Poland.

Why is the mazurka a national dance of Poland?

Thus, the fast-paced, energetic dance became a national symbol in several distinct ways. The most characteristic feature of the dance is the presence of the so-called mazurka rhythms, which occur in a variety of non-dancing songs and dances from the central and western parts of Poland.

How many mazurkas are there in Poland?

Aleksander Janta lists about 30 mazurkas in his study of nineteenth-century American-Polish music (1982, 128); one publication describes the mazurka as a Russified dance: “The Mazourka is the national dance of Poland, and was introduced into Russia when the Russians subjected Poland.

Why is the polonaise called the minuet polinese?

Perhaps the polonaise was described as a ‘minuet polinese’ because the minuet was one of the few early eighteenth-century dances that started without an anacrusis. Türk, Klavierschule, 402. My translation. Cramer, ed., Magazin der Musik 1 (1783), 54. My translation.

What defines a mazurka?

The mazurka (Polish: mazur or mazurek) is a Polish musical form based on stylised folk dances in triple meter, usually at a lively tempo, with character defined mostly by the prominent mazur's "strong accents unsystematically placed on the second or third beat".

What is the meaning of polonaise in music?

The polonaise is a stately Polish processional dance, performed by couples who walk around the dance hall; the music is in triple meter and moderate tempo.

Who was mazurka in Poland?

The mazurka, a Polish folk dance that became popular as a drawing room dance in Western Europe in the mid-19th century, found its stylization as art music at the hand of one of the country-of-origin's favorite sons, Frederic Chopin (1810-1849).

What are the characteristics of a polonaise?

The polonaise has some specific characteristics: It's in triple time (usually 3/4) It's a slow to moderate dance. The rhythm gives a stately, march-like impression.

What is polonaise style?

“Polonaise style referred to the arrangement of the overskirt of a dress into three bunched swags to give the hips the impression of width and to display the petticoat underneath. Derived from a Polish style, the word polonaise means 'Polish,' and to wear a dress in this manner was referred to as à la polonaise.

Why did Chopin write polonaise?

Fond of the culture of his birthplace, Poland, Chopin strove to evoke its spirit in his compositions, especially through reference to the aristocratic polonaise. The Heroic Polonaise is an example of such a musical homage to his homeland.

What is the difference between a mazurka and polonaise?

2:5111:11What's the Difference Between a Waltz and a Mazurka? - YouTubeYouTubeStart of suggested clipEnd of suggested clipThe strong beat is the second bead. One two three one two. Three so that's it in a nutshell. And soMoreThe strong beat is the second bead. One two three one two. Three so that's it in a nutshell. And so you can hear these complete pieces with all their different sections.

Why did Chopin write so many mazurkas?

Writing works such as mazurkas and polonaises served Chopin's desire to be Polish even while living outside the country. His fame was such that his career was in Paris, but his heart always remained in Warsaw. Mazurka No. 1 in F sharp minor was his simple introduction to a genre that would occupy him his whole life.

What instrument is used in mazurka?

The instruments were mainly the shepherd's reed flute, violin and dudda-a variety of bagpipe, that produced one or two drones either a tonic note, or tonic and dominant notes. In general, the form of the original folk mazurka consists of two or four parts of six or eight measures, each part being repeated.

What is the most famous Chopin piece?

Chopin was an expert in the art of writing and playing 'cantabile' (in a singing style), and you won't find more charming melodies than those of the Nocturnes in B flat minor and E flat, largely considered Chopin's most famous, from his Nocturnes Op. 9.

What language is polonaise?

PolishBorrowed from French polonaise (“Polish”).

What is a polonaise in English?

polonaise in American English 1. a slow dance of Polish origin, in triple meter, consisting chiefly of a march or promenade in couples. 2. a piece of music for, or in the rhythm of, such a dance.

What is a polonaise in English?

polonaise in American English 1. a slow dance of Polish origin, in triple meter, consisting chiefly of a march or promenade in couples. 2. a piece of music for, or in the rhythm of, such a dance.

What tempo is a polonaise?

The music for the polonaise was distinguished by its rhythm. It was always in 3/4 time and played at a moderate tempo. Each measure consisted of an eighth note followed by two sixteenths on the first beat.

What language is polonaise?

PolishBorrowed from French polonaise (“Polish”).

Where did polonaise come from?

polonaise, Polish polonez, in dance, dignified ceremonial dance that from the 17th to 19th century often opened court balls and other royal functions. Likely once a warrior's triumphal dance, it was adopted by the Polish nobility as a formal march as early as 1573 for the coronation of Henry of Anjou as king of Poland.

What is the Dresden partita?

The Dresden partita was cultivated principally in the 1740s and 1750s by composers who lived and worked in the Dresden area.# N#Footnote#N#65 Their remarkably consistent use of the minuet and polonaise as final movements elevated the latter dance from an occasional movement in contemporary suites to a pivotal feature of the partita; very few of Roellig's partitas do not conclude with a polonaise or an alla polacca movement. Apart from one partita in six movements and a few more in three, Roellig's partitas fall into two main groups: those with four movements (the majority) and those with five. All movements, except for the occasional introductory adagio, are in some type of binary form, with some opening movements in sonata form. Most partitas conclude with a single binary polonaise ranging from eight to thirty-two bars in length. But there are also polonaises with trio sections or sets of variations, polonaises alternating with contrasting dances such as the musette and mazur, and movements featuring contrasting Furioso and Tranquillo, alla Polaca sections. Roellig cultivated each of these movement types during specific periods: polonaises with trios were composed only up to c 1752, variation movements only appear in a cluster of works from 1756 to 1760, and the movements contrasting Furioso and Tranquillo, alla Polaca sections conclude three partitas (which also exist in arrangements for flute or violin with keyboard entitled divertimento) composed c 1758.#N#Footnote#N#66 In these last movements, Roellig adopted a novel approach to form: within an overall binary structure that includes a coda, they alternate four-bar Tranquillo, alla Polaca sections with Furioso sections varying in length and material. Note in Example 9 that each Furioso section ends with an imperfect cadence and fermata (bars 14, 28 and 48). In keeping with the polonaise structures discussed above, the rhyming four-bar Tranquillo, alla Polaca sections that conclude each of the two binary halves (bars 15–18 and bars 49–52) provide identical endings in the tonic. The medial Tranquillo, alla Polaca in the second repeating section (bars 29–32) is varied and in the relative major, whereas the coda (bars 53–56) reproduces the tonic statements an octave higher.#N#Footnote#N#67

How many bars are in a polonaise?

Some of the lengthier polonaises have a more complicated internal organization, such as the rondo-like dance in the Partita in C minor (D-Bsa, 2421), which divides into three ten-bar units: ||: ab, ccd :||: ab 1, ccd | E, ccd :||. Similarly, in a thirty-bar dance in the Partita in C major (SA 2413/3229), the last four bars of the first half return to punctuate two sets of new material in the second half: ||: aa 1, bb 1, cd :||: b 2 e, cd 1 | gg, cd :||.

What is the significance of the Polish style in music?

While recent studies have explored the significance of the Polish style in the music of Georg Philipp Telemann and Johann Sebastian Bach, and the importance of Polish dances in Dresden has long been recognized, the eighteenth-century German polonaise remains a largely neglected area of inquiry. The restoration of the library of the Singakademie zu Berlin in 2000 has made it possible to explore an important collection of mostly unica sources of music by Saxon composers from c 1740 to 1763 amassed by the Meissen porcelain mosaic artist Carl Jacob Christian Klipfel (1727–1802). Klipfel's collection includes music by Johann Christian Roellig (born 1716), possibly the most prolific composer of polonaises in Dresden during this period and one of the earliest German composers to write mazurs (mazurkas) in instrumental works. The first-hand knowledge of the Polish style that musicians employed by the Saxon electoral court and Count von Brühl gained as a result of frequent journeys to Warsaw resulted in Dresden polonaises that are relatively un-‘Germanized’. This article examines the social and musical contexts of the polonaise in mid-eighteenth-century Dresden, including the repertoire of the annual Redouten (masked balls), then examines the polonaises and mazurkas of Roellig and his contemporaries, including Johann Georg Knechtel, Georg Gebel and Gottlob Harrer. A survey of the use of the polonaise in Redoutentänze, symphonies and partitas reveals significant differences in style and structure between these genres.

What are the patterns in the Redoutenpolonaisen?

Most common in the Knechtel and Gebel sets are eight-bar 4:||:4 and, especially, twenty-bar 8:||:12 patterns. The 4:||:4 pattern is favoured in the polonaises of Roellig, who also writes second sections that are considerably longer than first sections (4:||:10, 4:||:12 or 4:||:14), providing relief from the often rigid predictability of musical structures. Only in the longest dances of the 1755 collection by Roellig (8:||:14 and 10:||:14) does he include dal segno structures. Noteworthy is a dance in Knechtel's 1755 collection with an uneven number of bars in the second half (8:||:7).

What is rhyming in polonaise?

Compared with his Redoutentänze, Roellig's symphony polonaises adopt more stylized formal structures, such as rhyming two-phrase micro-structures or rondo-like structures. In these works, rhyming is created not only by the use of the same melodic material in the closing bars of each repeated section (often a verbatim repetition of the first repeated section's concluding phrase through a dal segno indication), but also by a three-phase periodic repetition of material throughout the movement. In its simplest form, as found in the Symphony in C major (D-Bsa, SA 2300), this repetition involves two phrases that are repeated with harmonic variation: ||: AB :||: A 1 B, A 2 B :||. Repetition is also a feature of the micro-structure: common to both the ‘A’ and ‘B’ phrases is the recurrence of the initial one-bar motive in each phrase ( Example 7 ).

What is the significance of the Dresden Redouten?

The richness of the repertoire for the Dresden Redouten indicates not only a lively interest in new music to support both court and public events, but also a wider market for private performance in the home. That the Breitkopf firm in Leipzig offered many of these dance collections, originally composed by Dresden-based musicians for consumption in that city, indicates the music's broad appeal. It is also likely that music associated with the Redouten acted as a crucible for compositional formulae that Roellig, Gebel, Knechtel, Neruda and others would explore in other genres such as the partita, symphony and homage cantata.

How many items are in the Clavierbuch collection?

a From a collection of thirty-eight items entitled Clavierbuch | vor | Florentine Tugendreich | Seidelin. | Lauban | 1774. | den 1ten Febr that also includes a minuet and a polonaise from the 1755 collection of Leipzig Redoutenmusik by Knechtel.

What is a Mazurka?

The mazurka ( Polish: mazurek) is a Polish musical form based on stylised folk dances in triple meter, usually at a lively tempo, with character defined mostly by the prominent mazur 's "strong accents unsystematically placed on the second or third beat ".

What is the dance of the Russian Empire?

The mazurka was a common dance at the balls of the Russian Empire and it is depicted in many Russian novels and films. In addition to its mention in Leo Tolstoy 's Anna Karenina as well as in a protracted episode in War and Peace, the dance is prominently featured in Ivan Turgenev 's novel Fathers and Sons.

What is the most popular dance in the Philippines?

In the Philippines, the mazurka is a popular form of traditional dance. The Mazurka Boholana is one well-known Filipino mazurka .

How many couples did the Mazurka dance?

The mazurka began as a dance for either four or eight couples. Eventually, Michel Fokine created a female solo mazurka dance dominated by flying grandes jetés, alternating second and third arabesque positions, and split-leg climactic postures.

Where are Mazurkas played?

Mazurkas constitute a distinctive part of the traditional dance music of County Donegal, Ireland. As a couple's dance, it is no longer popular. The Polish dance entered the UK in the 1840s, but is not widely played outside of Donegal. Unlike the Polish mazurek, which may have an accent on the second or third beat of a bar, the Irish mazurka ( masúrca in the Irish language) is consistently accented on the second beat, giving it a unique feel. Musician Caoimhín Mac Aoidh has written a book on the subject, From Mazovia to Meenbanad: The Donegal Mazurkas, in which the history of the musical and dance form is related. Mac Aoidh tracked down 32 different mazurkas as played in Ireland.

When did Chopin start composing mazurkas?

Chopin first started composing mazurkas in 1824, but his composing did not become serious until 1830, the year of the November Uprising, a Polish rebellion against the Russian tsar. Chopin continued composing them until 1849, the year of his death. The stylistic and musical characteristics of Chopin's mazurkas differ from the traditional variety because Chopin in effect created a completely separate and new genre of mazurka all his own. For example, he used classical techniques in his mazurkas, including counterpoint and fugue. By including more chromaticism and harmony in the mazurkas, he made them more technically interesting than the traditional dances. Chopin also tried to compose his mazurkas in such a way that they could not be used for dancing, so as to distance them from the original form.

What is the rhythm of the quaver?

In Swedish folk music, the quaver or eight-note polska has a similar rhythm to the mazurka, and the two dances have a common origin. The international version of the mazurka was also introduced under that name during the nineteenth century.

Answer

The polonaise is a Polish dance and is one of the five historic national dances of Poland. The others are the Mazurka (Mazur), Kujawiak, Krakowiak and Oberek, last three being old folk dances.

Answer

the Polonaise and mazurka was a famous dance. the Polonaise is a famous polish dance and is one of the five history national dances of the poland. the other mazurka has been last three being old folk dances

What is the name of the dances in Kujawy?

The dances, known abroad as mazurkas , comprise more than one type: mazur or mazurek, the obertas or oberek, and the kujawiak from the neighboring district of Kujawy (see PMC entries on oberek and kujawiak). These dances are linked by common rhythmic and choreographic traits, especially the mazurka rhythm discussed below.

What is the most popular dance in Poland?

Oskar Kolberg stated in the first volume of his monumental folklore collection, Pieśni ludu polskiego (Songs of the Polish people 1857), that kujawiak, i.e. obertas , is the most popular dance in the whole country. In his later writings, Kolberg distinguishes between these dances differing in tempo, with the mazur occupying the middle ground between the slow, lyrical kujawiak and the furiously fast-paced oberek. Moreover, he describes a performance practice of dancing a set of three dances, a chodzony (walking dance, folk version of the polonaise), followed by a kujawiak, and a mazur or an obertas (oberek).

What is the most characteristic feature of the dance?

The most characteristic feature of the dance is the presence of the so-called mazurka rhythms, which occur in a variety of non-dancing songs and dances from the central and western parts of Poland. According to current research, it is not possible to describe traits which would unequivocally distinguish an oberek from a mazur or a kujawiak (the rhythm is further discussed in the section on “music”).

Why was the Mazurka popular in the 1830s?

In the 1830s and 1840s, the mazurka enjoyed its greatest popularity in the Western salons; along with the krakowiak and the polonaise, it served as a sign of solidarity with the oppressed Polish nation, the cause championed by Polish exiles in Paris and their aristocratic patrons. Paradoxically, after the partitions of Poland, ...

How many different versions of the Mazur are there?

Since there are at least four different socio-historical versions of the mazur (17th-century nobility, 19th-century patriotic society, peasants from central Poland, regional varieties from western and south-central Poland, etc.), there are a variety of costumes available for performance.

How many notes are in a Mazurka?

Mazurs, obereks, and other dances from this group are in triple meter and contain the mazurka rhythms consisting of a pattern of two sixteenths followed by two eighth-notes (in a three-eighths meter), i.e. two short and two long notes.

What is the significance of the Mazurka?

Mazurek Dąbrowskiego (Dąbrowski Mazurka) was created in 1797 as a Song of the Polish Legion for the troops of General Jan Dąbrowski, serving Napoleon during his conquest of Europe with the hope of regaining Poland’s independence.

Overview

History

Outside Poland

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