This work was slow to gain favour with musicians, due to its harmonic complexity and intricate form. Arthur Hedley was one of the first critics to speak in its favour, writing in 1947 that it 'works on the hearer's imagination with a power of suggestion equalled only by the F minor Fantasy or the fourth Ballade', although Arthur Rubinstein, Leff Pouishnoff, Claudio Arrau and Vladimir Horowitz had been including it in their programmes some decades earlier.
It is intimately indebted to the polonaise for its metre, much of its rhythm, and some of its melodic character, but the fantaisie is the operative formal paradigm[clarification needed] (Samson, 1988), and Chopin is said to have referred initially to the piece only as a Fantasy. Parallels with the Fantaisie in F minor include the work's overall tonality, A-flat, the key of its slower middle section, B major, and the motive of the descending fourth.
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Jeffrey Kallberg has suggested that the Polonaise-Fantaisie represents a change in Chopin's style from 'late' to 'last'. It is suggested that the formal ambiguities of the piece (particularly the unconventional and musically misleading transitions into and out of the lyrical inner section) are the most significant defining qualities of this 'last style', which only includes this and one other piece; the unfinished F minor Mazurka (Op. 68, No. 4).
- Jeffrey Kallberg. Journal of the American Musicological Society , Vol. 38, No. 2 (Summer, 1985), pp. 264-315
- Polonaise-Fantasie: Free scores at the International Music Score Library Project
- Polonaise-Fantaisie sheet music available at Musopen.com
- Polonaise-Fantaisie performed by Valery Sigalevitch on YouTube :
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