Chopin completed his Polonaise-Fantasy in 1846, a work in which he combined the title polonaise and fantasy specifically for the first time. This work contains multiple materials, including the polonaise rhythms, the fantasy characteristics, many improvisatory segments, a profound and long introduction, a nocturne-like lyrical middle section, as well as some principles resembling those found in the sonata form. It can be therefore defined as the most complicated in structure, the most abundant in contents, and the richest in fantastic improvisation and singing qualities of Chopin’s polonaises. One faces a difficulty when performing such a huge and complicated piece: how to present a tight-knit and cohesive performance? I am thus interested in the study on the coherence between the composition materials, and also in the exploration of the internal drama dispersed with the improvisatory qualities in this work.

This paper investigates three aspects: firstly, the origin and development in the styles of the polonaise and the fantasy, as well as their innovative meanings presented by Chopin; secondly, the coherence of the Polonaise-Fantasy through musical analysis of the formal structure, the connections between the introduction motives and primary themes, the tonal structure, and the applications of the polonaise rhythm; thirdly, the performing practice and interpretation on this dramatic and improvisatory large work.