The main theme is preceded by an introduction of about thirty seconds in length. The first theme is a dance-like theme and in the tonic key of A-flat major. It is the familiar part of the piece and has the left hand moving in pounding octaves. The theme is repeated up an octave with short trills that fill some of the auditory gaps in the theme.
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Polonaise in A flat major, Op. The Polonaise in A flat major, composed at Nohant, is meant solely to be listened to. It has the shape and character of a dance poem. It is closer to the ballades than to the dances, although it still clearly emanates the pulse and vigour, and especially the majesty, of a polonaise.
The opening bars, heralding the entrance of the polonaise, possess verve and a boldness of gesture, as well as dignity and forcefulness. In the theme of the polonaise the principal, opening theme — the one that stays in our minds , we hear strength, pertinacity and upwards aspiration. Chopin has it played forte and maestoso. Strength is imparted by the octaves of the bass, while pertinacity is generated by the insistent repetition of the opening phrase.
That striving upwards carries — for a moment — the haughty, swaggering theme up the keyboard and into the realm of full, absolute sonority. With the striking of seven chords fortissimo in the unexpected key of E major, Chopin pulls us into the wondrous, almost balladic world of the trio — the central part of the work. Only after the climax and its full sound does a lyrical tone break through for a while. And then, as expected, the polonaise returns, in its proud, heroic plenitude, crowned by a clearly victorious coda.
Arthur Hedley called the Polonaise in A flat major, Op.
Polonaise in A-flat major, Op.53 (Chopin, Frédéric)
Polonaise in A-flat major, Op. 53
Chopin: Polonaise Op. 53 in A-flat Major