Although everybody wrote polonaises (there are those of Telemann, Mozart and Schubert, and the path will be continued by Mussorgsky and Tchaikovsky) the most famous and outstanding ones are due to Chopin's inspiration. An important part of the Polish composer's life was occupied by the creation of works in the Polonaise form. The first was written at the age of seven; the last, in 1846, three years before his death. The one that concerns us today was written in 1840 and published in Paris the following year. It was once called "tragic polonaise" but such a calamitous epithet no longer seems necessary. After all, it is a dance. In addition, the year 1841 had begun one of Chopin's most fruitful periods.
A "mixed" polonaise
In spite of its name, it is a " compound " piece, that is, mixed, because in the most unexpected way Chopin inserts a tempo di mazurka in the very center of the piece. His friend Liszt will be pleasantly surprised by such an occurrence and will point this out in a review of its Paris audition. In his usual flowery style, he will note that: "... In the pages of the greatest composers we have seen nothing comparable to the impression produced by this passage, abruptly interrupted by a country scene, by a mazurka in an idyllic style, which has the fragrance of mint and oregano".
The work is dedicated to the youngest of the Komar sisters, prominent ladies of the Polish émigré community in Paris, and enthusiastic friends of art in all its forms. By this time, however, the sisters no longer had that surname. Ludmila, dedicatée of the Polonaise, is now Princess Ludmila de Beauvau, having just married Charles-Just de Beauvau-Craon. Her sister Delfina, although divorced from her Count Potocki, will still be recognized as Delfina Potocka. For her there will be also an attentive regard (she is his pupil): Chopin will dedicate to her his popular "Minute Waltz", in 1847.
Polonaise in F sharp minor, opus 44
Three clear sections, preceded by a fiery crescendo, are distinguished in the piece:
00:20 The polonaise proper, martial, haughty, provocative.
03:00 A long episode in triple eighth notes, which seems to simulate a drum roll.
04:35 In the middle, the unforeseen mazurka, inserted by Chopin in the heart of a vehement piece. Thanks to his genius, this interlude will lead to the resumption of the introduction (7:50) and the first rhythmic theme (8:01).
In Liszt's words, the piece ends "with a somber murmur that leaves the soul caught in a blanket of disconsolation." Hence, perhaps, the tragic connotation mentioned at the beginning.
The rendition, immaculate, is by the Canadian pianist Charles Richard-Hamelin.
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