‘It is hard to imagine a mazurka conceived outside Chopin’s shados, and Ades’s are manifestly within the stylistic remit, acknowledging the distinctive accentuation and ornamentation, and four-bar phrasing. At least to begin with. Yet these ‘givens’ start to deliquesce. Ades own distinctive metrical complexity infiltrates old certainties and puts the familiar form before distorting mirrors. The music is charming and alarming at the same time.'