ce has feminine endings to all the principal cadences. The
rhythmical cast of the bass is seldom changed. Despite its essentially
masculine mould, it is given a feminine title; formerly it was called
Polonais. Liszt wrote of it:

"In this form the noblest traditional feelings of ancient Poland are
represented. The Polonaise is the true and purest type of Polish
national character, as in the course of centuries it was developed,
partly through the political position of the kingdom toward east and
west, partly through an undefinable, peculiar, inborn disposition of
the entire race. In the development of the Polonaise everything
co-operated which specifically distinguished the nation from others. In
the Poles of departed times manly resolution was united with glowing
devotion to the object of their love. Their knightly heroism was
sanctioned by high-soaring dignity, and even the laws of gallantry and
the national costume exerted an influence over the turns of this dance.
The Polonaises are the keystone in the development of this form. They
belong to the most beautiful of Chopin inspirations. With their
energetic rhythm they electrify, to the point of excited demonstration,
even the sleepiest indifferentism. Chopin was born too late, and left
his native hearth too early, to be initiated into the original
character of the Polonaise as danced through his own observation. But
what others imparted to him in regard to it was supplemented by his
fancy and his nationality."

Chopin wrote fifteen Polonaises, the authenticity of one in G flat
major being doubted by Niecks. This list includes the Polonaise for
violoncello and piano, op. 3, and the Polonaise, op. 22, for piano and
orchestra. This latter Polonaise is preceded by an andante spianato in
G in six-eight time, and unaccompanied. It is a charming, liquid-toned,
nocturne-like composition, Chopin in his most suave, his most placid
mood: a barcarolle, scarcely a ripple of emotion, disturbs the mirrored
calm of this lake. After sixteen bars of a crudely harmonized tutti
comes the Polonaise in the widely remote key of E flat; it is
brilliant, every note telling, the figuration rich and novel, the
movement spirited and flowing. Perhaps it is too long and lacks relief.
The theme on each re-entrance is varied ornamentally. The second theme,
in C minor, has a Polish and poetic ring, while the coda is effective.
This opus is vivacious, but not characterized by great depth.
Crystalli