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Updated: June 20, 2025
Of the two Polonaises, Op. 26, the second is the grander, and the definiteness which distinguishes it from the vague first shows itself also in the form. The second polonaise, however, although not so often heard, is the more interesting one, the emotional contents being more varied, and engaging more our sympathy.
Notwithstanding such precious pearls as the two Nocturnes, Op. 37, and a few others, Chopin shows himself greater both as a man and a musician in every other class of pieces he has originated and cultivated, more especially in his polonaises, ballades, and studies.
Life, warmth, and passion again circulated in his Polonaises, yet he did not deprive them of the haughty charm, the ceremonious and magisterial dignity, the natural yet elaborate majesty, which are essential parts of their character. The cadences are marked by chords, which fall upon the ear like the rattling of swords drawn from their scabbards.
Foreigners have distorted this character of the polonaises; the natives themselves preserve it less in our day in consequence of the frequent employment of motives drawn from modern operas. As to the dance itself, the polonaise has become in our day a kind of promenade which has little charm for the young, and is but a scene of etiquette for those of a riper age.
Through their vivid descriptions, these pretty wanderers excited the curiosity of the guests, and increased the eagerness for the formation of the succeeding Polonaises among those who, though they did not make part of the procession, still watched its passage in motionless attention, as if gazing upon the flashing line of light of some brilliant meteor.
As they are such Jews, keep everything till my return. He is entitled to do with them what he likes. But as to the Ballades and Polonaises, sell them neither to Schlesinger nor to Probst. Therefore, if you gave the Ballade to Probst, take it back, even though he offered a thousand. You may tell him that I have asked you to keep it till my return, that when I am back we shall see.
In the stormy, blood-soaked, ruined Paris of to-day it is not easy to imagine those evenings at the Prince Czartoryski's, when Chopin played in the moonlight the mazurkas and polonaises and waltzes which moonlight or dreams seem often to have inspired, but through which the proud movement of the old Polish dance and song triumphantly rings.
His Polonaises, which are less studied than they merit, on account of the difficulties presented by their perfect execution, are to be classed among his highest inspirations.
Niecks points out that if Chopin was "a flattering idealist as a national poet, as a personal poet he was an uncompromising realist." So in the polonaises we find two distinct groups: in one the objective, martial side predominates, in the other is Chopin the moody, mournful and morose. But in all the Polish element pervades. Barring the mazurkas, these dances are the most Polish of his works.
He had also begun to compose; indeed these efforts started soon after he began piano lessons, and before he could handle a pen. His teacher had to write down what the little composer played. Among those early pieces were mazurkas, polonaises, valses and the like. At the age of ten he dedicated a march to Grand Duke Constantine, who had it scored for band and played on parade.
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