Polonaise character of a polonaise. For example, the third movement of Beethoven's Triple Concerto op. 56, marked "Rondo alla polacca," and the finale of Chopin's Variations on "Là ci darem la mano" both feature this notation. In his book "Classic Music: Expression, Form, and Style", Leonard G. Ratner cites the fourth movement from Beethoven's Serenade in D major, Op. 8, marked "Allegretto alla Polacca," as a representative example of the polonaise dance topic (Ratner 1980, pp. 12–13). Frédéric Chopin's polonaises are generally the best known of all polonaises in classical music. Other composers who wrote polonaises or pieces in polonaise rhythm
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