Fryderyk Chopin’s Polonaise. The riddle of its melodic figure
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The Polonaise is not only one of the key genres in the output of Chopin, characterized by specific choreotechnic parameters, but also the area of the most intense manifestation of Polish musical and national tradition. The symbolizing processes in the polonaise are operated on a larger scale than in the mazurkas, which refer to the folk (plebeian) tradition. As a court dance, the polonaise was an emanation of Polish aristocratic tradition. In all of Chopin’s published polonaises the music opens with a characteristic motive. This four-note melodic figure possesses a distinctive feature: two crossing imaginary lines connecting the first and fourth note and the second and third note create imaginatio crucis. In Chopin’s polonaises, the above-mentioned figure is sometimes use most explicitly (Polonaises op. 26, Polonaise op. 44 and 53), and sometimes more hidden (Polonaises op. 40, Polonaise-fantaisie op. 61). The only analytical conclusion can be that the imagination crucis in Chopin’s polonaises is likely a conscious vehicle of various types of musical symbolism.
Abstract
The Polonaise is not only one of the key genres in the output of Chopin, characterized by specific choreotechnic parameters, but also the area of the most intense manifestation of Polish musical and national tradition. The symbolizing processes in the polonaise are operated on a larger scale than in the mazurkas, which refer to the folk (plebeian) tradition. As a court dance, the polonaise was an emanation of Polish aristocratic tradition. In all of Chopin’s published polonaises the music opens with a characteristic motive. This four-note melodic figure possesses a distinctive feature: two crossing imaginary lines connecting the first and fourth note and the second and third note create imaginatio crucis. In Chopin’s polonaises, the above-mentioned figure is sometimes use most explicitly (Polonaises op. 26, Polonaise op. 44 and 53), and sometimes more hidden (Polonaises op. 40, Polonaise-fantaisie op. 61). The only analytical conclusion can be that the imagination crucis in Chopin’s polonaises is likely a conscious vehicle of various types of musical symbolism.
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