Polonaises, Op. 26 No.1 in C-sharp Minor No.2 in E-flat Minor Impromptus Impromptu in A-flat Major, Op. 29 Impromptu in F-sharp Major, Op. 36: Piano

Polonaises Op. 26 No. 1 in C-sharp minor The Polonaise opens with a fiery Allegro appassionato in C-sharp minor, the primary theme preceded by descending octaves. The section climaxes with a series of virtuosic arpeggio figures which give way to a tender melody. This is then followed by a repetition of the theme. After this opening section, there is a new theme introduced in the enharmonic D-flat major. This new theme is then developed and followed by a new left-hand melody, which increases the tension until a repeat of the meno mosso. The piece ends in abrupt quietness. Op. 26 No. 2 in E-flat minor The Polonaise opens ominously but soon builds to become more agitated and passionate. The middle of the piece is a contrast to the dark atmosphere of the piece. Following the return of the main theme, the piece closes with subtlety, like its opus companion. Impromptus Chopin composed the Impromptu in A flat major in 1837 and published it the following year, dedicating it to one of his pupils, Lady Caroline de Lobau. The enchanting arabesque of the opening theme is followed by its complement, which wanders hesitantly and endlessly over the keyboard (bars (8) 9–16). The middle section of the Impromptu, in the relative key of F minor, is filled with a piano song – sweeping and embellished, after the fashion of an improvised aria or nocturne (bars 43–54). Returning in the reprise is the arabesque of a melody spun out seemingly without end, though finally extinguished, backed by chords that are cast forth softly, mezzo voice. It is difficult to call this anything other than the music of confidence. The second Impromptu, in F sharp major, was not written until two years after the first – the Impromptu in A flat major. Chopin worked on it at Nohant, following his return from Majorca, whilst gradually regaining his health. It differs markedly from the first Impromptu in terms of both form and character. Here, the middle section is filled with darkness and shade, and the melodic arabesque that distinguishes the impromptu genre does not appear straight away.