“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.  Crystalline, gracious, and refined, the piece is stamped “Paris,” the elegant Paris of 1830.  Composed in that year and published in July, 1836, it is dedicated to the Baronne D’Est.  Chopin introduced it at a Conservatoire concert for the benefit of Habeneck, April 26, 1835.  This, according to Niecks, was the only time he played the Polonaise with orchestral accompaniment.  It was practically a novelty to New York when Rafael Joseffy played it here, superlatively well, in 1879.