The expressive heart of the three Mazurkas, Op. 63, (1846) is the second, dominated by a sighing theme which uses subtle dissonances to extraordinary expressive effect. This is framed by two more vigorous dances, but all three demonstrate Chopin’s startling imaginative reinvention of the form. As his friend Wilhelm von Lenz put it, ‘the mazurkas are the mirror of Chopin’s soul.’ 

Nigel Simeone