Tertiary qualification

Bunin played below tune of chopin at Tertiary qualification of Chopin Competition.

• Mazurka op.33-1
  
  
  

  Mazurka in G-sharp minor, Op. 33, No. 1, the opening mazurka of the set, has a tempo marking of Lento.

  This mazurka has an emotional melody, accompanied in the left hand with a waltz pattern.

  The mood changes many times throughout the piece, and to good effect.

  This intimate piece is occasionally considered less complicated than many of Chopin's other mazurkas.

• Mazurka op.33-2
  
  
  

  Mazurka in D major, Op. 33, No. 2, the second of the set is one of the most popular mazurkas.

  It has a fast tempo and strong irregular accents.

  The piece begins with the happy and joyful main theme, decorated with ornaments.

  After a second theme is introduced, the main theme is repeated for a second time.

  The mazurka concludes with a separate coda section that introduces a new theme, this concludes with a melody ascending high into the upper register.

  An average performance of this mazurka lasts around 3 minutes.

• Mazurka op.33-3
  
  
  

  Mazurka in C major, Op. 33, No. 3, the third piece of the collection, has an expression marking of sempliceTempo#Italian tempo markings.

  This miniature is simple and warm, showing a different approach to the mazurka genre.

  Slightly accented second beats are used to keep the mazurka characteristics.

• Mazurka op.33-4
  
  
  

  Mazurka in B minor, Op. 33, No. 4, the final mazurka of the set, is one of the longest mazurkas at nearly 5 minutes, it was once a favourite of audiences.

  The piece is written in rondo form.

  The piece begins with a captivating main melody, decorated with grace notes and trills.

  This melody is repeated a total of eight times throughout the piece, between it different melodies appear but the main melody always returns.

• Sonata No.3 op.58
  
  
  
  
  
  

  Although Chopin was essentially a miniaturist, he handled the sonata form with remarkable assurance.

  To a degree, his fairly hefty ballades, scherzos, and impromptus provided good preparation for writing the four movements of his third and final piano sonata, but this work's first movement, in particular, displays compositional skills that Chopin had few other opportunities to practice.

  The first movement, Allegro maestoso, falls into traditional sonata form, constructed from a decisive and sometimes impulsive first theme and a more extended second theme, highly lyrical with a detailed accompanimental filigree -- music that would not be out of place in Chopin's nocturnes.

  The musical texture thickens considerably in the central development section; Chopin devotes long passages to variants on the second subject, but much of the development is highly contrapuntal.

  Following the recapitulation, which again emphasizes the second subject, the movement ends with a surprisingly peaceful coda.

  The very brief Scherzo, molto vivace, uses light, fleet, but finger-challenging E flat outer sections to frame a gentle and pensive trio section in B major.

  The ensuing slow movement, a Largo, is the heart of the sonata, conceptually as well as rhythmically. Stern but harmonically ambiguous chords lead to a delicate, nostalgic aria supported by a gentle heartbeat figure in the bass.

  This is soon supplanted by a long, flowing, rhapsodic section of quiet rumination. The opening theme, now with a more murmuring accompaniment, returns in more ornamented garb to escort the movement to its conclusion.

  The final movement, Presto, non tanto, makes a short transition from the Largo with a few swelling introductory bars that lead to the urgent, driving first theme of what turns out to be a rondo; this B minor material alternates with a contrasting, chord-launched section in the major designed to showcase the performer's agile fingerwork.

  Elements of both sections overlap for a grand coda.