The polonaise Farewell to the Homeland (; ) in A minor is a composition for solo piano, commonly attributed to the Polish composer and politician Michaà  Kleofas Ogià Âski. This piece was allegedly written around 1794, after the Koà Âciuszko Uprising, which the composer participated in. Farewell to the Homeland is extremely popular and recognizable in Russia, Poland and Belarus.
However, there is no known autograph manuscript bearing the composer's signature. There are also no sources to confirm that the date of composition is 1794. The earliest piano arrangement of the piece is from 1831, signed by Kasper Napoleon Wysocki.
Though the piece is commonly attributed to Ogià Âski, neither the autograph manuscript nor the piano publications during the composer's lifetime have survived or been found. There have also been no mentions of the polonaise in his Letters of Music (1828), where he mentioned other popular compositions of his.
The earliest piano version of the polonaise, , coming from the print , was signed by Kasper Napoleon Wysocki. The Polish name and the French only appeared in the 1860s, after the composer's death. The French name was likely given by Antoni Kocipià Âski in 1859, while the Polish name was given by Józef Kaufmann after 1860. Ogià Âski's name appeared in the 1855 arrangement, edited by Ignacy Feliks Dobrzyà Âski and published by Rudolf Friedlein in Warsaw.
Though Agnieszka Leszczyà Âska initially considered Kasper Napoleon Wysocki to be the real creator of this polonaise attributed to Michaà  Kleofas Ogià Âski, findings by Wojciech Gurgul revealed three earlier arrangements of Farewell to the Homeland, one in 1829, another in 1836, and one in 1837. Two of these were for the Russian seven-string guitar, while one was for the Spanish guitar.
Early arrangements of Farewell to the Homeland differ significantly from each other, meaning that the editors likely used different sources. WIth an exception to the main theme, parts of the polonaises have their amount of measures divisible by four. The main theme, however, has conflicting measure amounts between them.
The piece is well-known in Poland and Belarus. In the 20th century, Halina Szymulska wrote lyrics set to the melody of the polonaise. After the Fall of the Soviet Union, it was considered to make the song the national anthem of Belarus, though this idea was later abandoned.
Many Polish films used this song, including Ashes and Diamonds (director Andrzej Wajda, 1958), Mother of his Mother (director Robert Glià Âski, 1996), and Suicide Room (director Jan Komasa, 2011). The title of the polonaise became the title of a 1971 Soviet film named Ogià Âski's Polonaise (), directed by Lev Vladimirovich Golub.
The sixth measure of the polonaise appears on the back of the Belarusian 50-ruble banknote.