Frédéric François Chopin (1810-1849) - Complete Polonaises & Rare Pièces
Polonaises : Period of Maturity
Op.26 No.1 en Ut dièse mineur (00:00)
Op.26 No.2 en Mi bémol mineur (08:22)
Op.40 No.1 en La Majeur ‘’Militaire’’ (16:57)
Op.40 No.2 en Ut mineur (22:38)
Op.44 en Fa dièse mineur (30:45)
Op.53 en La bémol Majeur ‘’Héroïque’’ (41:45)
Op.61 Polonaise-Fantaisie en La bémol (48:41)
Polonaises : Youth Period
En Sol mineur / 1817 (1:03:12)
En Si bémol Majeur / 1817 (1:06:32)
En La bémol Majeur / 1821 (1:09:54)
En Sol dièse mineur / 1822-24 (1:14:56)
En Si bémol mineur / 1826 (1:21:26)
En Ré mineur / Op.posth. 71 No.1 (1:26:14)
En Si bémol Majeur / Op.posth. 71 No.2 (1:32:01)
En Fa mineur / Op.posth.71 No.3 (1:39:19)
En Sol bémol Majeur / 1829 (1:47:19)
Pièce Rares
Bourrée No.1 en Sol Maj (1:55:29)
Bourée No.2 en La Maj (1:56:13)
Cantabile en Si bémol Maj (1:56:52)
Contredanse en Sol bémol Maj (1:57:41)
Fugue en Ré mineur (1:59:39)
‘’Wiosna’’ - Andantino en Sol Maj (2:02:26)
Largo en Mi bémol Maj (2:03:27)
Feuillet d’album - Moderato en Mi Maj (2:05:21)
Marche funèbre / Edition Posth.Julien Fontana (2:06:40)
Écossaise No.1 en Ré Maj (2:11:54)
Écossaise No.2 en Sol Maj (2:12:51)
Écossaise No.3 en Ré bémol Maj (2:13:31)
Piano : Jerzy Sterczynski
Recorded in 1989, 1992, at Poland
Label : Chant du Monde
According to historical sources, the ‘’Polish dance’’, later referred to as the Polonaise, was danced at early as 15 February 1574 at a welcome ball in Cracow’s royal castle in honour of Henry III of Valois, King of Poland. Its origin can be traced in wedding festivities. As the so-called ‘’walking dance’’, it became very popular with the Polish nobility across the country. Named the Polonaise in the 17th century, the Polish dance in moderate 3/4 time was unlike any dance of the day. In Poland, the Polonaise was a solemn dance of the propertied nobility as its lofty and formal style matched their pride and gallant manner. It was processional in character and consisted of a promenade in couples. They marched around the ballroom in a stately manner thus lending their movements a chivalrous quality. Apart from being a ballroom dance, the Polonaise played a political role : its rhythm provided the accompaniment for many a patriotic song. Polish émigrés introduced the Polonaise in France and soon it became popular all over Europe. Its influence can be found in the work of the greatest composers (Bach, Telemann, Mozart, Beethoven, Chopin…).
Inspired by his Polish mistress, Karolina Sayn-Wittgenstein, Franz Liszt superbly characterized the Polonaise : ‘’This form is a manifestation of the noblest feelings and traditions of ancient Poland. One is struck by the unyielding determination and solemnity, which are said to have been the innate features of great Poles. There is a fighting spirit in these feelings and traditions, but the courage and gallantry are combined with the carefree attitude so typical of this chivalrous people. The Polonaises radiate calm and prudent strength and seem to convey the picture of the Poles from past ages which can be found in their chronicles - wide-shouldered and strong people who boasted sharp intelligence, piety and immense courage, people who were courteous and gallant in the field, before and after the battle.
The great popularity the Polonaise enjoyed in 19th century in Poland can be proven by the fact that Frédéric Chopin, as a child, wrote his first music for this dance. What he must have found attractive about the Polonaise was its stately march like rhythm, courtly politeness, elegance and solemnity. Little Frédéric is said to have improvised in the Polonaise rhythm to the astonishment and delight of his parents and whoever happened to listen to him. Characterizing Chopin’s creative personality, Heinrich Heine pointed out its three national sources : ‘’Poland gave him the sense of chivalry and her historical suffering, France graceful elegance and charm, Germany visionary depth’’. Stanislaw Dybowski