Chopin: Mazurkas, Vol. 1
Ingrid Fliter, piano
Works by Frédéric Chopin
Label: Linn Records
Released: 2025
Total time: 76:58
🎧 Available on all major platforms
Works included:
- Mazurkas (posthumous): WN 7, WN 14, WN 24, WN 25, WN 41, WN 60, WN 65
- Op. 6, Nos. 1–5
- Op. 7, Nos. 1–4
- Op. 24, Nos. 1–4
- Op. 50, Nos. 1–3
- Op. 59, Nos. 1–3
- Op. 63, Nos. 2–3
Recorded at the Fazioli Concert Hall, Sacile, Italy (June 11–13, 2024)
Piano: Fazioli
Producer & Engineer: Philip Hobbs
Post-production: Julia Thomas
Design: Valérie Lagarde
Photography: Anton Dressler
By Damián Autorino
Editor at Moto Perpetuo
Argentine pianist Ingrid Fliter has long been one of today’s most beloved Chopin interpreters. From her Preludes and Nocturnes to her widely praised Complete Waltzes, Fliter has built a deep and expressive connection with Chopin’s music — lyrical, honest, and effortlessly natural.
Now, she takes on a major new project: a complete cycle of Chopin’s Mazurkas, beginning with this generous and beautifully recorded first volume.
Rather than following a chronological order, Fliter offers a personal selection of 28 pieces, drawing from every phase of Chopin’s creative life. She begins with a group of posthumously published mazurkas, some written in his youth in Warsaw (like WN 7 and WN 24), others composed in his final years, such as the haunting WN 65 in F minor. These are intimate, sometimes understated pieces — full of charm, shadow, and Polish spirit.
She then moves through several of Chopin’s great published opuses:
- Op. 6 and Op. 7, his first bold steps in transforming the mazurka into a true art form
- Op. 24, more integrated and cyclical, culminating in the deeply moving B-flat minor
- Op. 50 and Op. 59, often seen as the high point of his exploration of the form — full of harmonic daring and rhythmic complexity
- And finally Op. 63, a return to smaller forms and folk-like simplicity near the end of his life
The mazurka was, in many ways, Chopin’s most personal genre. Rooted in Polish folk dance, but never quite meant for dancing, these short pieces are full of rhythmic play, modal shifts, poetic introspection, and quiet rebellion. Over the course of his life, Chopin wrote nearly 60 mazurkas — and no two are alike.
Fliter’s playing captures all of this with clarity, warmth, and a natural sense of rubato. She doesn’t overstate or sentimentalise. Her phrasing feels lived-in, alert to the music’s inner pulse — sometimes rustic, sometimes radiant, always deeply human.
A compelling start to what promises to be a major addition to the Chopin discography.
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