The polonaise is a couple dance in moderate tempo that originated in Poland. It developed from folk dances that were accompanied by singing, most of which were in triple meter and without upbeats. When members of the upper class began to use such pieces at court, the vocal parts were abandoned and the dance music was performed by the instrumental ensembles that usually accompanied court functions. During the early Baroque era, pieces called "Polish dances" were written by numerous composers; those that would become known as the "polonaise" (a French term) did not appear until the seventeenth century. By the eighteenth century, the polonaise became an instrumental work independent of its dance origins and exhibiting the following characteristics: triple meter, moderate tempo, lack of upbeats, and repetition of rhythmic figures. In the Classical era, polonaises came to possess broader, more expressive melodies and sometimes included a trio section (as in a minuet) or were set in rondo form. Chopin's works in the genre have become the most prominent examples.

When Chopin composed his first polonaises, the dance had been known throughout Europe for two centuries and had taken on a conventional character. Even Chopin's first essays in the genre were not especially Polish in style, belonging instead to the stile brilliant. Of these early works, that in B flat major, Op. 70, No. 2, composed in 1828, looks forward to the composer's later polonaises in its expanded form and majestic character. Possibly because of Chopin's later separation from his homeland, his mature polonaises would become symbols of Polish nationalism for both the composer and, especially, other Poles. The works were received as defiant outburst in the struggle of an oppressed and partitioned nation. Some were associated with specific historical events: Op. 40, No. 1 was perceived as evoking the battle of the Hussards of Subieski and Op. 44, the battle of Grochów. By the time Chopin composed his Two Polonaises, Op. 26, in 1834-5, he had become the darling of the musical establishment in Paris, where they were published in 1836.

Forceful, almost violent gestures open the Polonaise in C sharp minor, Op. 26, No. 1. The aggressive rhythm and bare octaves, played fortissimo, call attention to themselves, as does the heavy-handed cadence of the next two measures, played even more loudly. What is striking is that these first four measures are really an introduction, or upbeat, to the polonaise proper; yet, Chopin has given them tremendous weight. We find this characteristic in nearly all of the late polonaises. Chopin creates forward impetus in the ensuing eight-measure first theme, with its gradually rising and falling melody, by delaying the cadence on C sharp minor until the last beat of the last measure. After the typical repeat of this melody, complete with introduction, the two-part contrasting theme of the first section begins and Chopin maintains the momentum through syncopation, increasing dynamics, and a rapid, rising flourish that spans nearly two octaves. A return of the first theme rounds out the section.

Numerous literal repetitions of the main theme in the first section increase the sense of contrast afforded by the middle section. In D flat major (enharmonic with C sharp major, the tonic major), the middle section's ornamentation and expressive harmonies create a lyrical episode. At the beginning of the secondary theme of this section, we hear the melody in the bass while the right hand plays a countermelody with repeated chords. Unlike the second polonaise of Op. 26, the first adopts the traditional da capo format, with a literal repeat of the first section.

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These were the first two polonaises published in Chopin's lifetime, although he had written nine others prior to them, all of which would appear in posthumous publications. The first of this Op. 26 pair is in the key of C sharp minor and the second in E flat minor, an exceedingly rare choice, though Scriabin would use it occasionally some years later. Musicologists have made much of the melancholy keys of these polonaises, but in fact this composer could impart a sad mood to almost any key when he wanted.

Both of these polonaises, at around nine to ten minutes each, are not only about the same length, but of similar mood and structure, making them bona fide musical twins. The first begins grimly with emphatic descending chords, after which the gentle, melancholy main theme follows, seeming to struggle in its quiet upward climb. After its second appearance a warmer alternate melody appears to offer effective contrast and brighten the mood, but only briefly as the main theme returns. The middle section features a beautiful melody related to the alternate theme. This quiet section, a mixture of passion and sadness, ends when the intrusive opening chords jolt the listener and bring back the main material for a reprise and abrupt, quiet close.

The second polonaise's opening is ominous, beginning quietly, then becoming agitated before the main theme, itself a restless creation, mixing anxiety and melancholy, is given. The alternate melody is brighter, even jaunty in manner, somewhat relieving the dark atmosphere. The middle section features a theme which, like the slow one in the C sharp minor polonaise, is a variant of the alternate melody. The main material returns and the piece, like its sibling, ends quietly, though without the abruptness.

Both these polonaises are masterful compositions and must be regarded among Chopin's better efforts in the genre.

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