Polka such as accordion, fiddle, diatonic accordion, hardingfele and nyckelharpa. Bedřich Smetana incorporated the polka in his opera "The Bartered Bride" () and in particular, Act 1. While the polka is Bohemian in origin, most dance music composers in Vienna (the capital of the vast Habsburg Austro-Hungarian Empire, which was the cultural centre for music from all over the empire) composed polkas and included the dance in their repertoire at some point of their career. The Strauss family in Vienna for example, while probably better-known for their waltzes also composed polkas that have survived obscurity. Josef Lanner and other Viennese composers
Polonaise-Fantaisie (Chopin) and Vladimir Horowitz had been including it in their programs 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 (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. Jeffrey Kallberg has suggested that the Polonaise-Fantaisie represents a change in Chopin's style