FOR EUROPEAN/ POLISH SOCIAL BALLROOM DANCES: POLONAISE AND MAZURKA ESSAYS, VIDEOS AND INSTRUCTIONS: GO TO THE INTERNET AND SEARCH FOR: ACADEMIA.EDU………..RAYMOND CWIEKA TO VIEW THE VIDEOS PASTE THE VIDEO - WORD - ESSAY TO A WORD DOCUMENT AND THEN CLICK & PRESS THE CTRL KEY ON THE VIDEO. ORIGINALLY THERE WERE SOME 49 BOOKS AND ESSAYS OF MINE.

I'm Russian and I can't stand Oginsky's polonaise. Russians didn't try to make it theirs - the Soviets did. It was pushed relentlessly down everyone's throat as some kind of patriotic classic, especially in connection to the victory in the WW2, and it always felt wrong and forced. Which is hardly a surprise, considering the history/background of that particular polonaise and the idea/feelings it was written to express. Russian composers appreciated the polonaise form for its grandeur, and for its celebratory mood, and for its rhythmic pattern that works well with many things Russian composers tend to do. Tchaikovsky's, Glinka's and Musorgski's (in 'Boris Godunov') polonaises are all about these traits (up to the level of a caricature, as some may argue). Oginsky's piece is almost the opposite. It's a depressing mumbling coupled with certain melodies/motives very familiar in Eastern-European backwaters, where folks like to cherish their bottomless victimhood and rarely miss a chance to overindulge in self-pity. The fact that this particular polonaise, written and intended to be an anti-Russia rallying cry, was chosen by Soviet ruling class as a symbol for Russian people to embrace - it's a good example of how wicked and russophobic the Soviet regime was in its core.

All "rules" on form are just scaffolds. Most rules for any given form were broken at some point or another by great composers. But when you are writing your first piece in any form, it is good to have a few guidelines to follow. Even grammar has exceptions, nothing is cut and dry, especially when it comes to art, where creativity is valued above all else. The point of explaining a B section as being perhaps calmer, is to get the idea into your head that the B section should at the very least be a contrast to the A section. Chopin titled his Military Polonaise "Military" for a reason. The deviation from the standard is written right there in the title. Let's say you wrote a "Pastoral" Polonaise, I would in that case expect the A and B sections to both be calm.

Because I haven’t uploaded enough videos. But you can always help by sharing my videos.

You all probably dont give a damn but does any of you know a way to get back into an Instagram account? I stupidly lost the password. I would appreciate any help you can give me!

@Ignacio Marlon Instablaster :)

@Otis Theo Thanks for your reply. I found the site through google and Im trying it out atm. Seems to take a while so I will reply here later with my results.

@Otis Theo It did the trick and I finally got access to my account again. I'm so happy:D Thank you so much, you really help me out :D

You won’t have to wait much longer for another 😉

Stay tuned, I'm waiting for 10,000 subscribers to set one up. I'll reach that milestone fairly soon. Thanks for your interest in supporting the channel.

@@MusicaUniversalis Best of luck. I'm sure you'll hit 10k any day now.

That's unfortunate, I consider Chopin a once in a million years miracle. I find it hard to find a better composer and melodist than him.

I would be rather tough discussing polonaise and omitting Chopin. Imagune the outrage. Like talking about the Fugue and not saying Bach.

By your definition the Minuet and Trio is not a form either. Strange that it‘s called Minuet and Trio Form in many texts. Apparently it isn’t a form at all, but a genre. Interesting theory.

Even though I don’t speak Dutch, I understood exactly what you wrote. I suppose speaking German helps though.