It has probably been said before, but in many ways Henryk Wieniawski (1835-80) was the Chopin of the violin. He was Polish and spent some time in Paris, though not as a political refugee like Chopin. Both men were attracted to the dance forms from their country, too; the mazurka crops up in the oeuvre of each. This Op. 19 pair dates from about 1860, by which year the violin virtuoso Wieniawski had already become a seasoned composer.

These two pieces are scored for violin and piano. The first, Obertass, is colorful, featuring an ebullient, jaunty theme and Wieniawski's typically brilliant writing for the violin. The melody's memorable character and the work's charming elegance make it attractive for both violinists and audience. The second piece, Le ménétrier, begins with gentle pizzicato chords, after which the violin delivers a hearty, jovial main theme whose peasant character flavors the mood with infectious spice. The alternate material is elegant and subdued, providing nice contrast to the boisterousness of the stomping main dance tune. A third theme, restrained and elegant, comprises an attractive middle section. This piece is almost twice the roughly two-minute length of Obertass.

These mazurkas are well-crafted light compositions, as thematically memorable as most by Chopin, with violin writing that is masterful and consistently colorful throughout.



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