The more dramatic Sonata, in B minor, op. 58, is better adapted by the brilliancy of its ornamentation for a concert performance. The composer seems to have found it difficult to keep the profusion of thought within due proportions, especially in the Adagio. In the development of the first theme in the first movement, there is a want of repose which is only made up for by the wonderful _cantilene_ in D major. Chopin is generally less successful when writing in stricter forms which hamper the bold flight of his fancy. His inventive power and melodic wealth were so abundant that it was irksome to him to work out his themes systematically; and his Sonatas, therefore, with respect to form, sometimes appear unfinished; while in more congenial spheres he could permit his rich imagination to have freer play.
Chopin was very partial to the dance forms—mazurka, polonaise, waltz, tarantelle, cracovienne, and bolero—which he first truly idealized. Out of the large number of his mazurkas it is difficult to tell to which to award the palm; so wide a scope do they offer for individual taste. Among the best—which, by their gay or melancholy character, appear so diverse but are all alike characterized by the same rhythm—must undoubtedly be reckoned, op. 7, Nos. 2. and 3; op. 17, Nos. 1 and 2; op. 24, No. 2; op. 30, No. 3; op. 33, No. 4, The mazurkas, op. 24, No. 4; op. 50, No. 3; op. 63, No. 3, distinguished by poetical charm and contrapuntal skill, are worthy of mention. Some of those mazurkas are almost more effective which display a tinge of melancholy, as if the composer had only indulged in a momentary diversion and narcotic intoxication to return the more sadly to his original gloom. The most striking mazurka of this class is op. 56, No. 2.
Tradition assigns to the polonaise the following origin. When the dynasty of the Jagiellons died out, Henry of Anjou, son of Catherine de Medicis, afterwards Henry III., was, in 1573, elected King of Poland. The following year he received the representatives of the nation in solemn state at Cracow Castle; and the gentlemen made their wives slowly defile before the king, keeping step to an accompaniment of music. Every time a foreign prince was elected to the throne this ceremony was repeated, and from it was gradually developed the national dance of the polonaise, which has kept its place in Europe up to the present day. In the slow sweeping measure of the polonaise there is much stateliness and gravity, and the turnings and changes seem like the echo of the murmurs from the active life of the old Polish nobility. It used always to be danced with the sabre called “Carabella.” Prince Michael Oginski and afterwards Kurpinski were the first to treat it artistically, a circumstance which contributed in some measure to their reputation; after them, non-Polish composers, such as Beethoven, Schubert, Weber, Spohr, &c., made it into an independent musical form, and wrote works on the model of the polonaise; until Chopin ennobled it with his own poetry and ideal beauty, and once more infused into it a distinctively Polish cast of thought.