Mazurca (de Dama de ouros) by Chiquinha Gonzaga Chamber Music - Digital Sheet Music

SKU: A0.1639498

Musical Analysis of "Mazurca (de Dama de Ouros)" by Chiquinha Gonzaga
Chiquinha Gonzaga (1847–1935) was a pioneering Brazilian composer, pianist, and conductor who played a crucial role in blending European classical forms with Afro-Brazilian rhythms. Her "Mazurca (de Dama de Ouros)" (Mazurka from "Queen of Diamonds") is a delightful example of her ability to infuse a Polish dance form with Brazilian character.


1. Form and Structure
The mazurka is a Polish dance in triple meter (3/4 or 3/8), typically with a rhythmic emphasis on the second or third beat. Gonzaga’s piece follows a traditional ternary (ABA) form:

A Section – The main theme, lyrical and graceful, with a clear mazurka rhythm.
B Section – Contrasting middle section, often modulating or introducing new melodic material.
A’ Section – Return of the main theme, sometimes slightly varied.
Gonzaga may also incorporate small codettas or repetitions to extend phrases, a common feature in salon music of the time.


2. Harmonic Language
Tonal Center – Likely in a major key (common for mazurkas), with possible modulations to the relative minor or dominant.
Chromaticism & "Brazilian" Touches – While maintaining classical harmony, Gonzaga might include subtle chromatic passing tones or rhythmic syncopations that hint at Brazilian musical traditions.
Cadences – Clear authentic (V-I) and half cadences (ending on V) structure the phrases, but with occasional surprises to keep the music engaging.

3. Rhythmic Characteristics
Mazurka Rhythm – The defining feature is the accent on the second or third beat (e.g., 1-*2*-3 or 1-2-*3*), giving it a lilting, dance-like quality.
Syncopation & Brazilian Influence – While keeping the European mazurka structure, Gonzaga might add subtle rhythmic displacements or grace notes reminiscent of maxixe (a Brazilian dance) or choro rhythms.

4. Melodic Style
Lyrical, Singing Quality – The melody likely has a flowing, cantabile (song-like) character, with occasional ornamentation.
Repetition & Variation – Gonzaga often used call-and-response phrasing, where a melodic idea is stated and then answered with a slight variation.
Dance-like Playfulness – The B section might introduce a more rhythmic, playful theme compared to the A section’s lyricism.

5. Brazilian Elements in a European Form
While the mazurka is Polish, Gonzaga’s version may include:

Subtle Afro-Brazilian syncopations (though not as pronounced as in her polkas or choros).
Use of pianistic textures that evoke the guitar or cavaquinho (a small Brazilian string instrument).
Modal inflections (e.g., borrowing from the Lydian or Mixolydian modes) for color.

6. Performance Practice
Rubato – Gentle tempo fluctuations for expressive phrasing.
Articulation – Light staccatos on accented beats to emphasize the mazurka rhythm.
Dynamics – Contrast between sections (e.g., a louder, more vibrant B section).