Composition: 1838-39

Publication: Published in 1840 in Paris (E. Troupenas), Leipzig (Breitkopf & Härtel), and London (Chr. Wessel).

Chopin visited Mallorca, Spain, with George Sand and her children for about half a year starting in the autumn of 1838. These two polonaises were completed during that time. For Chopin, this trip was not smooth. He fell ill from the fatigue of the arduous journey and was also treated poorly by the islanders, who mistakenly believed him to be a tuberculosis patient. Despite these circumstances, Chopin had a Pleyel piano brought from Paris and continued his compositional work. Masterpieces such as the Preludes, Op. 28, were created during this period.

He returned to Paris in the autumn of the following year, but during his absence of over a year, his friend Julian Fontana was entrusted with communications with publishers. Fontana fair-copied the manuscripts Chopin sent him and negotiated with publishers under Chopin's instructions. This Op. 40 is dedicated to Fontana.

Although Chopin had avoided public performances since 1835, he was encouraged by those around him and held a concert at Pleyel's hall in 1841. It is said that Op. 40-1 was performed at this concert.

Op. 40-1 in A major

Known by its nickname 'Military,' this work is arguably the most popular of Chopin's polonaises. Op. 40-1 possesses traditional characteristics of the polonaise genre, such as the dance rhythm used throughout the piece and the ternary form where the opening section is repeated via a da capo. Furthermore, a valiant and heroic atmosphere is created by the fanfare-like phrases in the middle section and the rumbling trills in the bass.

The structure of the piece is a ternary form: A (measures 1-24) - B (measures 25-80) - A (measures 81-104).

Op. 40-2 in C minor

In contrast to Op. 40-1, this work has a somber and weighty character. The distinctive polonaise rhythm is used in a fragmented manner, subtly recalling its dance origins. Artur Rubinstein is said to have interpreted this work as depicting the decline of Poland. A magnificent effect is created by the extremely rich harmonic changes and the contrapuntal use of multiple melodies.

The structure of the piece is a ternary form: A (measures 1-71) - B (measures 72-116) - A' (measures 117-133). In the final A' section, a shortened A section is repeated with a dramatic atmosphere.