Conclusion...

The way in which Beethoven is so aptly able to weave his such technically difficult passages with the customary Polonaise rhythm is quite amazing. Beethoven starts off very grandiose, as usual, yet he transitions to such a sweet melody in the 'A' section. It is similar to men's gymnastics in a way--strong and powerful, yet with grace and subtle delicacy. This piece was written for a woman, yet she was a very powerful woman. She ruled over all of Russia, yet she did it with a air of grace and dignity--bold yet feminine. 

It is nice that Beethoven shied away from using too much mode mixture. Instead of hitting the listener with mode mixture from the get go, he eases into it--adding a III here, using the parallel minor to switch keys there. In some ways, the piece parallels the life of Empress Elizabeth. She grew up rather one dimensional in that she really only cared about fashion and cared little for politics. But over time she gained knowledge and maturity. Beethoven's Polonaise starts out in one key, and stays there for a while, slowly incorporating other keys and textures.

It is in many ways interesting that in the same year that Beethoven's once proud hero Napoleon was banished to Elba--he would of course later return--he decided to write such a joyous piece. It might be a study in contrast, as Napoleon's reign ended in defeat while Elizabeth's reign ended in dignity and grace. Remember that Beethoven wrote an entire symphony for Napoleon, yet he grew disenchanted with Napoleon once he crowned himself King of Italy. Perhaps he felt the need to find a new hero. Or to say to his old hero, "Here's a hero that ruled in a glorious manor." The fact that he used an old Russian empress would strike a chord with the man who failed to conquer Russia.