It became a dance
political, and had words set to it. Thus came the Kosciuszko, the
Oginski, the Moniuszko, the Kurpinski, and a long list written by
composers with names ending in "ski." It is really a march, a
processional dance, grave, moderate, flowing, and by no means
stereotyped. Liszt tells of the capricious life infused into its
courtly measures by the Polish aristocracy. It is at once the
symbol of war and love, a vivid pageant of martial splendor, a
weaving, cadenced, voluptuous dance, the pursuit of shy,
coquettish woman by the fierce warrior.
The Polonaise is in three-four time, with the accent on the
second beat of the bar. In simple binary form--ternary if a trio
is added--this dance 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.
Pages:
317
318
319
320
321
322
323
324
325
326
327
328
329
330
331
332
333
334
335
336
337
338
339
340
341