Although the Polonaise is generally considered a Polish dance, there are many types, and in the case of Baroque polonaises, their characteristics cannot be precisely defined.

This Polonaise, too, lacks a serious aspect and can be considered an optimistic dance. However, there is one issue on the score. To conclude, if I were the performer, I would play the C in the trill on the third beat of measure 4, and the C in the trill on the second beat of measure 18, as C-sharp (Cis). It is musically reasonable to play it this way, even if not explicitly notated.

This Polonaise is written in D minor (d-moll), and since C-sharp (Cis) is the leading tone of D minor, this C-sharp determines the tonality. This Polonaise modulates to its relative major, F major (F-dur), midway through. In F major, C-sharp naturally changes to C, thus, the C's in this piece also serve as evidence of F major.

In this Polonaise, measures 1-4 and 16-18 are in D minor (d-moll), but all other sections are in F major (F-dur). While the change from C-sharp (Cis) to C enables the modulation to F major, C is not necessary in the D minor sections. Please play any C that appears in the D minor sections as C-sharp (Cis).