klasikal.com

Again, the next piece drastically differs from the previous: the continual gauntlets of number two is relieved by the third piece in the set, an “introspective rêverie [daydream].” Drawing on the previous illustration of a “generic hybrid,” this piece is described as a mixture between the song without words and funeral march genres, to create what is called the “most Russian” piece of the set, containing both sonorous bass and a solid melody, characteristics of Russian music.

The first piece has an andantino (moderate) tempo, is 113 measures long, and is marked at 72 quarter notes per minute. It is divided into three distinct sections. The first presents a theme in common time (4/4) with a typical nocturne figure for the left hand. A mid-piece pause at roughly the same area in Schubert’s first Moments Musicaux further emphasizes the influence of Schubert. The second part is marked con moto (with motion), at 76 quarter notes per minute, and is a variation of the first theme in the unusual configuration of seven quarter notes per measure (7/4). This part ends in a cadenza. The third section presents the last variation of the theme, again in common time, but in the fastest tempo yet, Andantino con moto, at 84 quarter notes per minute. The piece ends in a coda that returns to the first tempo, and repeats portions of the previous three parts. It ends with a perfect authentic cadence into B-flat minor.

The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) for solo piano was written by Frédéric Chopin in 1842. This masterpiece is one of Chopin’s most popular compositions and has always been a favorite of the classical piano repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. It is also sometimes referred to as the Drum Polonaise.