This C major mazurka's two siblings in the Op. 56 set are comparative giants in length. Yet, this diminutive offering is not short on color and substance, and its boisterous, jolly peasant nature and bursts of exoticism seem fair compensation for the deeper music in the other mazurkas.

This C major effort opens with a hearty, rhythmic theme, evocative of the spirit—and, no doubt, of the sound—of Polish peasant dances. The music is infectious in its light-footed prancing and brilliant colors. Could there be anything more Slavic and earthy than this gem of a dance piece? Suddenly and surprisingly, though, one hears the flavors of Spain, as though the composer were revisiting his 1833 Bolero. This little detour may be unintentional, a diversion into the more exotic spheres of the music from the composer's homeland. In any event, one can observe that here is another example of Chopin auguring the styles of both Debussy and Ravel. In this minute-and-a-half the composer packs in more rich keyboard writing and evocative sounds than many other composers do in a lifetime of composition.

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Chopin wrote this mazurka in a relatively happy time in his life: while he was suffering from tubercular infection, he was deeply in love with the writer George Sand (Aurore Dupin Dudevant). This relatively long C minor mazurka (around seven minutes), however, could hardly be heard as a keyboard incarnation of his love for her.

This work has the reputation of sounding rather intellectual and impersonal. That judgment is mostly correct, for Chopin invests very little of the music here with his usual sense for emotion and passion. This mazurka, marked Moderato, opens with a theme whose chief characteristic seems to be its tendency to probe, to search. Four notes in particular repeat hesitantly, giving the piece an air of uncertainty. A brighter melody evolves from this and eventually develops a march-like gait. Still, the somewhat philosophical mood is never completely jettisoned. The main theme returns and casts a reflective pall over the remainder of the piece. In the end, this must be judged one of the composer's more sober, more emotionally cool works. But that observation cannot be taken as a dismissal of the work's aesthetic value. Indeed, while it may lack passion and feeling, it is nevertheless an effective piece, perhaps not among his best efforts in the genre, however.

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The Op. 56 trio of mazurkas comprise one of Chopin's most substantial sets. Only the middle one, in C major, is short, while the outer members are quite lengthy, among the longest mazurkas he ever wrote. No. 33 here usually lasts over five minutes in performance, and No. 35 is longer still.

This B flat major mazurka begins quietly and tentatively, as though the composer were searching out a theme on the piano. Yet the character of the theme that materializes is itself rather unsettled and hesitant as it emerges from a misty cloud into bright sunlight. Marked Allegro non tanto, this complex piece seems a contrast between the unsteady and fragile nature of the main theme and the flowing, airy demeanor of the alternate one. In the latter third of this mazurka there is some significant development of the thematic materials, and at the end fragile elements of the main theme are deftly converted into a muscular and resounding conclusion. This is one of the composer's deeper and more elaborate mazurkas, capturing much color and an array of mostly warm emotions.

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The nineteenth century composer's penchant for the new and different led to the implementation of many new genres and forms, including the short character piece. The rise of national and patriotic feelings also contributed to the appearance of several dance forms and compositional genres previously unknown in the western European art world. It was in this environment of change and acceptance that Chopin appropriated, developed, and elevated the mazurka, an artistic blend of three native Polish dance forms, traditional Polish classical music, and the western aesthetics of Chopin's formal training. This miniature piece serves as an exploration in rhythmic, modal, harmonic, textural, and emotional variety, each mazurka a unique emanation of deep sources of inspiration. The mazurkas of Op. 56 display the dramatic contrast possible within the same genre. The first is a joyous, tender reflection, with an intimate salon feel. The contrasting sections demonstrate Chopin's lyrical ability, and the subtle change of melody between hands attest to his developing style. The second mazurka has a true Polish flavor, with a rhythmic drone accompaniment, irregular accents, and rustic grace note figures. The chromaticism and sophisticated imitation among the voices are further evidence of Chopin's maturing style. The dance-like second piece is followed by a mysterious and unusual third mazurka. The rhythmic ambiguity, combined with the stronger emphasis on the second and third beats, creates a truly native feel. The contrasting section bursts into a patriotic, rhythmic, chordal texture, but quickly returns to the original, winding theme.

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