efore the
tempo I.)? Alas! the awakening from a dream. Once more we hear
those sombre sounds, the shriek and explosion, and so on. Of the two
Polonaises, Op. 26, the second is the grander, and the definiteness
which distinguishes it from the vague first shows itself also in the
form.

A greater contrast than the two Polonaises, Op. 40 (published in
November, 1840), can hardly be imagined. In the first (in A major)
the mind of the composer is fixed on one elating thought--he sees the
gallantly-advancing chivalry of Poland, determination in every look
and gesture; he hears rising above the noise of stamping horses and the
clash of arms their bold challenge scornfully hurled at the enemy. In
the second (in C minor), on the other hand, the mind of the composer
turns from one depressing or exasperating thought to another--he seems
to review the different aspects of his country's unhappy state, its
sullen discontent, fretful agitation, and uncertain hopes. The manly
Polonaise in A major, one of the simplest (not easiest) compositions
of Chopin, is the most popular of his polonaises. The second polonaise,
however, although not so often heard, is the more interesting one, the
emotional contents being more varied, and engaging more our sympathy.
Further, the pianoforte, however fully and effectively employed, cannot
do justice to the martial music of the one, while its capacities are
well suited for the rendering of the less material effect of the other.
In conclusion, let me point out in the C minor Polonaise the chafing
agitation of the second part, the fitful play between light and shade of
the trio-like part in A flat major, and the added wailing voice in
the recurring first portion at the end of the piece. [FOOTNOTE: In
connection with the A major Polonaise, see last paragraph on next page.]

If Schiller is right in saying "Ernst ist das Leben, heiter ist die
Kunst," then what we find in the Polonaise (in F sharp minor), Op. 44
(published in November, 1841), cannot be art. We look in vain for
beauty of melody and harmony; dreary unisons, querulous melodic phrases,
hollow-eyed chords, hard progressions and modulations throughout every
part of the polonaise proper. We receive a pathological rather than
aesthetical impression. Nevertheless, no one can deny the grandeur
and originality that shine through this gloom. The intervening
Doppio movimento, tempo di Mazurka, sends forth soft beneficent
rays--reminiscences of long ago