Classical Music | Music for Fortepiano

Recorded on 10/21/1991, uploaded on 03/21/2011

Musician's or Publisher's Notes

Like the mazurka, the polonaise was an expression of nationalistic pride for Chopin. As a Polish expatriate living in Paris in the aftermath of the November Uprising, Chopin embraced his heritage through his music. While the mazurkas tended to be of a more introspective nature often conveying Chopin’s wistful and melancholy remembrances of his homeland, the polonaises were, on the other hand, more extroverted. Arthur Rubenstein said of the two polonaises of opus 40 that the first in A major, known as the “Military” Polonaise, was the symbol of Polish glory, while its companion piece in C minor was that of Polish tragedy. During the Nazi invasion of Germany in September 1839, the former piece was played daily over the radio to bolster the morale of the Polish people.

Composed in 1838, the Polonaise in A major begins without introduction, launching into the opening theme with military precision. In the rhythmic figures of the melody and accompaniment, one can easily imagine drum rolls and trumpet fanfares. The military epithet is even carried by Chopin down to the structure of the piece with the opening comprised of three perfectly formed eight measure sentences. Changing to the key of the subdominant, the trio section introduces a somewhat freer melody, though still driven on by the militant rhythms of the accompaniment, and takes on a noble and dignified character. A brief moment of struggle emerges during the course of the trio with bold trills in octaves and a sudden inflection from the parallel minor key but is nonetheless quickly resolved with the reemergence of the trio theme. A recapitulation of the opening section completes the polonaise’s ternary design.        Joseph DuBose