Without a doubt, the patriotic spirit of a Polish Mazurka permeates the F major, Op. 68. The vitality of redundant dotted-eighth-sixteenth rhythms cajoles the player in musical directions. (Be sure to use a supple wrist–and shake out the rhythmic figures)
The echo phrases should be observed, and a drop to the vi chord–d minor (sub-mediant) has a certain pathos. Whenever vi follows tonic, or the home key chord, there’s an elicited emotional response. Make something of it.
The middle section has an ostinato (repeated bass) that sounds to me like bagpipes with its drone bass against a treble that passes in and out of dissonance.
The return to the opening section is a bit tricky. It’s easy to lose control in the transition so a slight broadening or ritenuto is recommended.
The Mazurka is over too quickly, especially with all the repetition, but it’s well composed and makes a loud and clear musical statement.
(According to The Concise Oxford Dictionary of Music, edited by Michael Kennedy, “the mazurka is characteristically in triple time with a certain accentuation of the second beat of each measure and an ending of the phrases on that beat.”)