Composition

1840-41

Publication

Published in Paris (M. Schlesinger) and Vienna (P. Mechetti) in 1841, and in London (Wessel & Stapleton) the following year, 1842.

Chopin spent much of his time between 1839 and 1846 at George Sand's estate in Nohant, France. There, away from the bustle of Paris, he was able to concentrate on his creative work. This Polonaise, completed in 1841, is one of the important works born in Nohant.

In this work, Chopin integrates two dance forms: the Polonaise and the Mazurka—both major Polish dances and symbols of the Polish spirit. Chopin's longing for Poland was unceasing; in a letter to his friend Fontana from this period, he wrote, “Will I ever be able to return to Poland?” (translated by Yuichiro Komatsu).

This work is dedicated to Princess Charles de Beauvau, the sister of Chopin's close female friend, Delfina Potocka.

Overall Structure

The entire work can be divided into three parts as follows:

• Part I: Introduction (mm. 1-8) - A (mm. 9-26) - B (mm. 27-34) - A (mm. 35-52) - B (mm. 53-60) - A (mm. 61-78) - C (mm. 79-102) - B (mm. 103-110) - C (mm. 111-126)
• Part II: D (mm. 127-260)
• Part III: Introduction (mm. 261-267) - A (mm. 268-285) - B (mm. 286-293) - A (mm. 294-326)

Parts I and III are Polonaises, consisting of an introduction and three thematic sections, while Part II is a Mazurka. Each section is carefully balanced to create both contrast and continuity.

Part I begins with an 8-measure introduction. The octave crescendo in both hands is a powerful passage reminiscent of Liszt, and this section prepares the main theme as the dominant of F-sharp minor. The main theme, section A, is characterized by great power. The leaps in the left hand, the accompaniment played by both hands, and the ornaments and trills in the bass create a rich and strong sound. This A section is repeated twice in Part I, each time varied to increase its power and momentum. Section B is a short subordinate theme, creating a strong contrast with section A due to its abrupt key change. Structurally, however, it can also be seen as an “auftakt” (upbeat) section that prepares the subsequent A and C sections. The new material in section C consists of a rhythmic motive followed by V-I progressions, which are continuously repeated. In this section, an A pedal point is sustained, preparing the subsequent A major.

In Part II, the Mazurka, inserted as if in a dream, contrasts with the energetic atmosphere of the Polonaise sections. However, the gentle-sounding third chords create a connection with section A, and this melodic pattern also shares commonalities with the introduction.

In Part III, Part I is recapitulated in a compressed form.