Composition: 1834-35

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

Chopin composed 16 polonaises for solo piano, and Op. 26 comprises the 10th and 11th works among them. They were completed between late 1834 and 1835, approximately three years after Chopin had left Warsaw and settled in Paris.

Compared to the initial nine 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 to gain independence from Russia and its subsequent failure, the polonaise, a court dance, had come to evoke the former prosperity of their homeland. The rhythms and melodic patterns of the polonaise were no longer merely conventional means to create a Polish folk atmosphere, but rather a powerful medium for expressing Polish identity.

Many elements characteristic of Chopin's mature polonaises are evident in this work, such as rhythmic figures played with full-sounding chords, vigorous arpeggio passages, and dynamic contrasts that create dramatic effects, all contributing to a powerful and heroic atmosphere.

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

Op. 26, No. 1 in C-sharp minor

The structure is a compound ternary form: A (measures 1-37) - B (measures 38-85) - A (measures 1-37), with each section further divisible into three parts. The A section in C-sharp minor features a four-measure introduction, which creates a heightened sense of tension through its sharp rhythms and powerful sonorities. The eight-measure main theme resembles a vigorous “question” followed by a faint “response.” The B section is in D-flat major, creating a lyrical atmosphere with rich ornamentation and harmony, contrasting with the character of the A section. (Measure 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.” However, the repetition of the opening section was conventional for the polonaise genre. Therefore, it is generally considered more plausible that Chopin made a writing error rather than intentionally breaking convention to create a binary form.

Op. 26, No. 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, specifically with the sections divided as follows:

• A (measures 1-20)
• B (measures 21-48)
• A (measures 49-68)
• C (measures 69-104)
• A (measures 105-124)
• B (measures 125-152)
• A (measures 153-175)

This perspective allows for a dynamic understanding of the overall flow.

The A section is in E-flat minor and features a larger introduction than the preceding Op. 26, No. 1. Its wide dynamic range, from pp to fff, prepares the theme with a dramatic atmosphere. The main theme creates tension through the dissonant collision of the right-hand melody and the bass. 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 the E-flat minor of the A section. Furthermore, they contrast with the A section in terms of rhythm and texture.