Composition: 1834-35

Publication: Published in 1836 in Paris (Publisher: M. Schlesinger), Leipzig (Publisher: Breitkopf & Härtel), and London (Publisher: Chr. Wessel).

Chopin left 16 polonaises for solo piano, and Op. 26 comprises the tenth and eleventh of these works. They were completed between late 1834 and 1835, approximately three years after Chopin had left Warsaw and settled in Paris.

Compared to the nine earlier works written in Warsaw, one can observe a transformation in the meaning of the "polonaise" genre for Chopin. For Poles who had experienced the November Uprising and its failure to gain independence from Russia, the music of the polonaise, a court dance, came to evoke the former prosperity of their homeland. The polonaise's rhythm and melodic patterns were no longer merely a conventional means of creating a Polish folk atmosphere, but rather a powerful medium for expressing Polish identity.

Many elements characteristic of his mature polonaises are found in this work, such as rhythmic patterns played with full-sounding chords, vigorous arpeggio passages, and dynamic contrasts that create dramatic effects. These elements contribute to a powerful and heroic atmosphere.

These two pieces are dedicated to the Bohemian composer Josef Dessauer.

Op. 26-1 in C-sharp minor

The structure is a compound ternary form of A (bars 1-37) - B (bars 38-85) - A (bars 1-37), with each section further subdivisible into three parts. The A section in C-sharp minor has a four-bar introduction that creates a heightened sense of tension through its sharp rhythms and powerful sonorities. The eight-bar main theme resembles a vigorous "question" followed by a subdued "answer." The B section, in D-flat major, features rich ornamentation and harmony, creating a lyrical atmosphere that contrasts with the character of the A section. (Note: Bar numbers are based on the Ekier edition.)

Regarding the repetition of the final A section, Chopin indicated "Fine" at the end of the B section and did not write "Da capo" there. However, the repetition of the opening section was conventional for the polonaise genre. Therefore, it is considered more plausible that he made an error in writing rather than intentionally breaking convention to create a binary form.

Op. 26-2 in E-flat minor

This work exhibits a formal expansion that foreshadows the later Polonaise-Fantaisie, Op. 61. While it is generally viewed as a compound ternary form, it can also be interpreted as a rondo form, with the following sections: A (bars 1-20) - B (bars 21-48) - A (bars 49-68) - C (bars 69-104) - A (bars 105-124) - B (bars 125-152) - A (bars 153-175). This interpretation allows for a dynamic understanding of the overall flow.

The A section, in E-flat minor, has a larger introduction than the preceding Op. 26-1. Its wide dynamic range, from pp to fff, prepares the theme with a dramatic atmosphere. The main theme creates tension as the right-hand melody and the bass clash dissonantly. The B section is set in D-flat major, and the C section in B major. Both of these are major keys distantly related to E-flat minor. They also contrast with the A section in terms of rhythm and and texture.

This Polonaise is highly lyrical, so the key to playing it lies in how well you can make the melody sing. The fateful measures 1-2 allow for various interpretations by performers. Some gradually loosen the rhythm, while others apply or omit rubato. The line referred to as the melody line in measures 1-2 is C# B A G# F##. While I would play this line with the most intensity, it is ultimately up to the performer. In measures 3-4, if you find the chord quality to be unclear, first suspect your right hand's thumb (finger 1). Playing the left hand slightly softer than the right hand will produce a beautiful forte. The right hand's thumb tends to be heavy, so try to lift it slightly and relax the tension.

From measure 5, the lyrical quality emerges. Regarding the unique Polonaise rhythm, after playing the initial C# octave in the left hand, take as much time as possible, then play the next two 16th notes as if they were compressed 32nd notes. If you play the first beat of measure 5 strictly in time like a metronome, the Polonaise will sound heavy and rigid. Always take ample time, and then compress the 16th notes to compensate for the taken time. Continue to push the music forward until the A in the right hand of measure 6.

Upon reaching A, conversely, pull the music backward. In measure 8, express the left hand fading away at a very slow tempo. From measure 9, the second phrase begins with the same tension as the first, but the B in the melody line at pp in measure 11 is extremely important. Apply a slight ritardando in measure 10, and make sure the B in measure 11 is clearly audible (meaning not necessarily loud, but audible as an important note even at pp).

In measure 9, the left hand's beat on the third beat is difficult to grasp. Also, the reach for the second and third beats of measure 10 is wide. For these three chords, borrow strength from the right hand. Try taking the top note of each left-hand chord with your right hand's thumb (finger 1). You should find it considerably easier to play.

A typical spot for careless mistakes by learners is not sustaining the right hand's B# and the bass G# sufficiently in measure 12. Since B# resolves to C# on the third beat, sustain it until C# without cutting it short. Similarly, sustain the bass G# until the next G# (the same applies to the left hand's D# and G# in measure 7). The section repeats until measure 24, but you may vary the expression slightly on the second time.

Learners typically struggle with the ascending arpeggios in measures 26, 28, and 30.

Practice Method:

• Try playing C# strongly with finger 4. It's fine if your hand doesn't wobble the moment you strike the key. If it does wobble, repeat it many times. Both your first and second knuckles must form an arch. The wobbling will subside with repeated practice.
• Next, play the two notes A# (finger 3) to C# (finger 4), moving from A# to C# as quickly as possible. It's fine if there's no wobbling at that time. Play C# fortissimo.
• Then, try playing the three notes G (finger 2), A#, and C# in one swift motion. It's fine if there's no wobbling when you reach C#.
• Next, try playing normally. If it's still difficult, there's a possibility that an independence issue is involved. Consult your instructor and ask for appropriate practice methods.

Now, once you have sufficiently practiced measures 26 and 28, play these two lightly and smoothly in tempo. Especially measure 26 at p, and measure 28 at mf. While these two measures should be played in time, measure 30 is simply impossible to play in tempo due to the large number of notes. You may take a little time here.

For each arpeggio, play so that the last two or three notes are clearly audible. Avoid blurred sounds. Gradually crescendo until measure 32. In measure 33, change the pedal in small, frequent increments to gradually fade out the sound. Do not cut it off abruptly, nor should you sustain it too long.

From measure 34 onwards, even if marked p, play with ample lyricism. For small note values like the septuplets appearing in measure 37, take plenty of time. From measure 50 onwards, similarly, let the music sing as if entrusted to a singer (meaning the timing is up to the performer), but balance becomes crucial. Since the eighth notes also fall on the beat, the music tends to become vertically rigid. It would be good to play the eighth notes as ppp as possible.

From measure 66 onwards, consider it a duet. You might try playing each voice separately to find appropriate shaping. The mood in measures 66-69 and 70-73 is completely different. Change the color of your playing. Measure 74 is the weakest pp section, and from here, gradually build a crescendo.