-picture of Poland, her departed glory, her many wrongs, and her hoped-for regeneration. Karasowski (Life of Chopin, vol. ii.) divides his Polonaises into two classes. The first (which includes those in A major, op. 40, No. 1; F♯ minor, op. 44, and A♭ major, op. 53) is characterised by strong and martial rhythm, and may be taken to represent the feudal court of Poland in the days of its splendour. The second class (including the Polonaises in C♯ minor and E♭ minor, op. 26; in C minor, op. 40, No. 2; in D minor, B♭ major and F minor, op. 71) is distinguished by dreamy melancholy, and forms a picture of Poland in her adversity. The Fantaisie Polonaise (A♭ major, op. 61) is different in character to both classes, and is said to represent the national struggles ending with a song of triumph.
As a dance, the Polonaise is of little interest: it consists of a procession in which both old and young take part, moving several times round the room in solemn order. It does not depend upon the execution of any particular steps, although it is said to have been formerly danced with different figures, something like the English country dances. It still survives in Germany, and is danced at the beginning of all court balls. In Mecklenburg a sort of degenerate Polonaise is sometimes danced at the end of the evening; it is called 'Der Auskehr' ('The Turn-out'), and consists in a procession of the whole company through the house, each person being armed with some household utensil, and singing in chorus 'Un as de Grotvare de Grotmoder nahm.' [See Grossvater Tanz.]
The tempo of the Polonaise is that of a march, played between Andante and Allegro: it is nearly always written in 3-4 time,[1] and should always begin on the first beat of the bar. It generally consists of two parts, sometimes followed by a trio in a different key; the number of bars in each part is irregular. The chief peculiarity of the Polonaise consists in the strong emphasis falling repeatedly on the half-beat of the bar, the first beat generally consisting of a quaver followed by a crotchet (see the Polonaise given below). Another peculiarity is that the close takes place on the third beat, often preceded by a strong accent on the second beat. The last bar should properly consist of four semiquavers, the last of which should fall on the major seventh [App. p.750 "leading note"], and be repeated before the concluding chord, thus:
The accompaniment generally consists of quavers and semiquavers in the following rhythm:
![{ \stopStaff \time 4/4 \override Score.TimeSignature #'stencil = ##f \override Score.Clef #'stencil = ##f \relative c'' { c8[ c16 c] c8[ c c c] } }](http://upload.wikimedia.org/score/b/k/bkeryl9ig9gpr7zycdou5z0xs3pk8ix/bkeryl9i.png){kind=small}
The following example, although not conforming entirely with the above rules, is nevertheless interesting as a genuine Polonaise danced and sung at weddings in the district of Krzeszowice in Poland at the present day.
![<< \time 3/4 \relative c'' {
\repeat volta 2 {
c8 e4 << { \tiny e16 d } \\ { c8 } >> e[ c] |
d f4 f16 e f8 d |
b d4 d8 b[ g] |
g'[ a] g[ f] e[ d] |
c e4 c8 e[ c] |
e[ g] a[ f] d4 |
<< { \tiny d8 f4 e8 f[ a] | g[ a16 g] f8[ d16 b] c4 } \\
{ b8 d4 d8 b[ g] | g'[ a] f[ d] c4 } >> }
\repeat volta 2 {
<< { \tiny g16[ b] d[ e] f8[ g f d] } \\
{ g,8 d' f4. d8 } >> |
c[ c] e[ f g e] |
e[ f] d[ d f a] |
<< { g8[ a16 g] f8[ d16 b] g'[ f e d] } \\
{ g8[ a] f[ d] c4 } >> |
e8 g4 g8 e[ c] |
<< { \tiny c16[ e g e] d4 s | c16[ d e f] s2 | s8 a16[ g] f8[ d16 b] } \\
{ c8[ g'] d[ d] b[ g] | c[ e] g[ g] e[ c] | g'[ a] f[ d] c4 } >> } }
\new Lyrics \lyricmode { Poja4. -- lem8 so -- bio nieprzeplaconą,2. Ksiedza4. plebana siostrę rodgoną. Dal8 ci4 mi8 tyle4 da8 tyle4 wiana,4. ocipke2 sloniny4 i8 wiąz8 kę8 siana.4. Moji8 są4 siedzi4. osądz4 cie lepiej, niechze4. mi8 choc8 da8 zagonek4. rzepy.} >>](http://upload.wikimedia.org/score/n/3/n3nik7tmsbxp119x30lnesobvgjd82s/n3nik7tm.png)
[2] The notes printed in small type are variations of the tune which are performed in some districts.
POLONINI, Entimio, a singer who began his career in England April 13, 1847, at Covent Garden as Raimondo in 'Lucia,' with fair success, and displayed 'a very sonorous voice which told well in the concerted music.'[3] He next played, May 8, De Fiesque, on the production in England of Donizetti's 'Maria di Rohan,' Fiorello ('Il Barbiere'), Antonio ('Le Nozze') etc. 'He has a fine bass voice and sings like a thorough musician.'[4] For the space of 21 years he sang at the Royal Italian Opera, and proved of great service in small but not altogether unimportant parts, besides the above, such as, Masetto, Il Ministro (Fidelio), Melcthal, Mathisen (Prophète), Alberto (La Juive), Borella (Masaniello) etc., and occasionally in those of more importance, with success, viz. Orbazzano and Alidoro, on the revivals of 'Tancredi,' 'La Cenerentola,' Leporello, St. Bris, etc. The rest of the year he was engaged either at Paris, or St. Petersburg, etc. The enumeration of his parts is sufficient to show that Signer Polonini, in addition to his good qualities as a singer, was a versatile actor. He was characterised by Mr. Chorley as 'one of the most valuable artists of a second class ever possessed by a theatre.' He has for some years retired from public life. [App. p.750 "he died in the autumn of 1880."] A son of his, Alessandro]], a baritone, has appeared in Italy and elsewhere.
POLSKA, a national Swedish dance, popular in West Gothland, something like a Scotch reel in character. Polskas are usually written in minor keys, although they are occasionally found in the major. The example which is given below ('Neckens Polska') is well known, as Ambroise
- ↑ Mattheson says it may be written in common time.
- ↑ Translation: I have taken for my wife the reverend Parson's own sister. He gave me as her marriage portion a piece of bacon and a bundle of hay. My neighbours, what do you think? The fellow has refused to give me even a little plot of land sown with turnips.
- ↑ 'Musical World,' April 17, 1847.
- ↑ Ib. Aug. 21, 1847.
