Composition: Op. 71-1: 1824-25 (various theories exist, including 1817, 1827, and 1828); Op. 71-2: 1828; Op. 71-3: 1828-29

Publication: Published in 1855 in Paris (Publisher: Jos. Meissonnier) and Berlin (Publisher: A. M. Schlesinger). Only Op. 71-2 was published around 1853 in Zhytomyr, Ukraine (Publisher: Chzaszcz).

These three polonaises were published posthumously by Julian Fontana, a close friend of the composer. Op. 71-1 and 2, in particular, are considered masterpieces among his early polonaises written during his Warsaw period.

Op. 71-1 in D minor (WN11)

In 1822, Chopin received piano lessons from Wilhelm Wacław Würfel, a renowned pianist. Under his tutelage, Chopin studied virtuoso works by composers such as Hummel and absorbed their musical language. This polonaise, like the earlier Polonaise in G-sharp minor, is a brilliant work demanding advanced technique. It also exhibits elements that foreshadow the heroic character of his mature polonaises, such as unison passages that create a majestic atmosphere and the layering of phrases that increase momentum.

Compound ternary form. The overall structure is broadly divided into A (measures 1-37) - B (measures 38-83) - A (measures 1-37), with each of these large sections consisting of three sub-sections. The tonality is D minor, A major, D minor for section A, and D major for section B.

Op. 71-2 in B-flat major (WN15)

Chopin enrolled in the Warsaw Conservatory in the autumn of 1826. Although he had previously received private composition lessons from Józef Elsner, the director of the Conservatory, he formally began his serious study of composition under Elsner by entering the department of "Music Theory, Harmony, and Composition". There, Chopin learned to logically structure musical elements such as his inherent beautiful melodies, harmonies, and brilliant virtuoso effects. In this work, ornamentation is not merely for display but is used to generate forward momentum. Its majestic atmosphere and expanded form foreshadow the polonaises of his mature period.

Compound ternary form. The overall structure can be broadly divided into A (measures 1-51) - B (measures 52-103) - A (measures 1-51), with each section further divided into three sub-sections. The tonality is B-flat major, C minor, B-flat major for section A, and G minor for section B.

Op. 71-3 in F minor (WN12)

Chopin spent the summer of 1829 in Antonin, which was then part of Prussian territory. He stayed at the country residence at the invitation of Prince Antoni Radziwiłł, a great nobleman of the region. The Prince was also an accomplished musician, and Chopin composed a work for cello and piano for him (Op. 3). An anecdote recounts that the Prince's daughter, Eliza, was very fond of this F minor Polonaise and repeatedly begged Chopin to play it for her throughout the day.

The structure is compound ternary form. The overall structure is divided into A (measures 1-72) - B (measures 73-98) - A (measures 1-72), with each section further divisible into three sub-sections. Section A is in F minor, A-flat major, F minor, and section B is in A-flat major. (*Measure numbers are based on the Ekier edition.)

It should be noted that the version published by Fontana is based on an early autograph manuscript. The Ekier and Henle editions include both a version based on Chopin's fair copy and the Fontana version.