Chopin's Polonaise in F-Sharp minor

Chopin's Polonaise in F-sharp minor. Often overlooked by his other two grand polonaises, (A-flat Major "Heroic", and A Major "Millitary") in my opinion, his Polonaise in F-sharp minor is far grander because of its power and finesse. The dynamic contrast is extremely sharp, yet the piece never loses its phrasing or melodic line. Not only that, Horowitz plays with the two hands of God, truly bringing beauty and power into the piece.

The piece begins with a two-three line introduction, something that is very common in Chopin's solo works for piano. The introduction first introduces two simple phrases in which Chopin then builds up to the "A" section by first changing the rhythm, then switching to massive double octaves, increasing in volume with a massive crescendo, finally arriving at the "A" section of the piece con fuoco.


The first that is striking throughout the "A" section is the massive bass line. The right hand is that of typical Chopin: Melodic lines decorated in all sorts ornaments. The left hand, however prominently displays massive chordal jumps that truly gives power to this piece, something that we don't often see in Chopin. It seems as if Liszt and Chopin wrote this piece together, with Chopin adding the beautiful melodic line, Liszt the finesse. Here in this section, the right hand and left hand trade off in melody, in different octaves. The passage is then repeated a few times, each differing slightly in phrasing.


At around 2:55, we arrive at the "A'" section. Here he flairs fleeting little ornaments, always returning to the pedal point on the note A. At 3:20, Chopin adds harmony to the pedal point, playing a low F with the left hand, which then progresses to other notes. After repeating the section he then concludes the section, transitioning into the "B" section.


Again, the form of this piece is typical of that of most of Chopin's pieces. After opening with his powerful "A" section, he will usually have a "B" section that is usually slow, very melodious, and and will often conclude the piece with the "A" section. In this piece, Chopin uses this form, displaying a gorgeous theme in the "B" section, switching to a major key. Here in this section, the main theme is repeated over and over again, in variations. Bask in the beauty of Chopin! 


The transition from the "B" section to the "A" section at 7:00 gets interesting. In the right hand, the melody from the "B" section is played while the left hand plays the theme from the intro. In a flourish of powerful runs and quick double octaves, we are back at the "A" section. 


Chopin has returned to the "A" section and must now end the piece. Interestingly enough, he doesn't throw in a dynamic coda to end it. Instead, after a powerful chromatic run, Chopin settles back into the main theme quietly, striking the tonic powerfully at the end.


I hope that you have been enlightened and now love this piece.


Now go eat some rice.


Ray