Works
Johann STRAUSS
1825-1899
Kaiser-Walzer
Also known as “The Waltz King,” Johann Strauss II succeeded his father as the Music Director of the Royal Court Balls. He went on to surpass his father’s legacy through extensive concert tours and a prolific output of approximately 500 compositions, which cemented his legacy. The Kaiser-Walzer (Emperor Waltz ) was composed in 1889 to mark the renewal of the political pact between Germany and Austria. Comprising several sections that alternate between military marches, waltzes and lyrical passages, the piece evokes the irresistible charm of Vienna—evoking the life of Empress Elisabeth of Austria (Sissi), opera balls and the city’s traditional New Year’s concert.
© François Zeitouni
Antonin DVOŘÁK
1841-1904
Slavonic Dances
Antonín Dvořák’s Slavonic Dances are inspired by the folk music of Bohemia, which largely corresponds to the modern-day Czech Republic. During Dvořák’s time, Bohemia was part of the Austro-Hungarian Empire. Originally written for piano four-hands, which led to their widespread popularity, these compositions are among the composer’s most beloved works.
© François Zeitouni
Johannes Brahms
1833-1897
Hungarian Dances No. 5
One of the first admirers of Dvořák’s Slavonic Dances was Johannes Brahms. Inspired by Liszt’s Hungarian Rhapsodies and his own long-standing interest in Romani folklore, Brahms had composed his renowned Hungarian Dances a few years earlier. The fifth and most famous dance in the collection features a czardas by violinist and composer Béla Kéler, which Brahms mistook for a folk tune.
© François Zeitouni
Mel BONIS
1858-1937
Sacred Dance
Until recently, the name Mel Bonis was completely unknown to performers and music lovers alike. Thanks to the work of musicologists Eberhard and Ingrid Mayer, the French composer’s remarkable works have been rediscovered in recent years. Bonis was one of the first women to be admitted to the composition class at the Conservatoire de Paris, where she studied under such masters as César Franck, Charles Koechlin and Ernest Guiraud. She left behind some 200 works, including her Danse sacrée , composed in 1898 as a slow, contemplative procession reminiscent of an ancient rite.
© François Zeitouni
Georges BIZET
1838 - 1875
Carmen, Suite No. 1
When Georges Bizet died in June 1875, shortly after the lukewarm reception of Carmen , he had no idea that this work would become one of the most popular operas of all time! Bizet wasn’t the only French composer fascinated with Spain: Saint-Saëns, Lalo, Chabrier, Debussy and Ravel all fell under its spell. The two Carmen Suites , compiled by Ernest Guiraud, highlight the opera’s most well-known passages. The first of these includes two typically Spanish dances: the Aragonaise and the Séguedille.
© François Zeitouni
Claude CHAMPAGNE
1891-1965
Danse villageoise
Claude Champagne is one of the most important Canadian musical figures of the first half of the 20th century. A prolific composer and esteemed teacher, he taught several generations of Quebec composers and was closely associated with the creation of the Conservatoire de musique de Montréal. Many of Champagne’s pieces echo his deep connection to his roots, such as Symphonie gaspésienne , Suite canadienne , Images du Canada français and Altitude . Danse villageoise , composed in 1929, weaves together stories of varied characters with a playful ritornello reminiscent of the fiddlers he must have heard in his youth.
© François Zeitouni
Leonard BERNSTEIN
1918 -1990
Three Dance Variations from “Fancy Free”
Leonard Bernstein was just 26 when he composed the ballet Fancy Free in 1944, one year after making his successful debut with the New York Philharmonic. It was just the beginning of the musical icon’s dazzling career as a pianist, conductor, composer and broadcaster. The ballet is set in New York during World War II and features three sailors in search of female conquests. The three dance excerpts from the work occur near the story’s conclusion. As the three sailors only caught the attention of two women, they have to decide who will be left out. The first sailor dances a galop, the second a waltz, and the third a danzón, ending in a brawl.
© François Zeitouni
Florence Price
1887 - 1953
Symphony No. 3 in C Minor, III. Juba: Allegro
Florence Price has resurfaced in recent years. This remarkable composer was the first African American woman to study composition at a major school, and enjoyed some success during her lifetime, thanks in particular to her piano music, chamber music and a few orchestral works. The fast movement of Symphony No. 3 features a Juba, an African American plantation dance. It features syncopated rhythms, leaps, and hand claps, which Price handles with a cheerful touch, accompanied by sparse yet vibrant percussion.
© Andréanne Moreau
De Falla
1876 – 1946
The Three-Cornered Hat
Commissioned by Diaghilev’s Ballets Russes, Manuel de Falla’s The Three-Cornered Hat (El sombrero de tres picos ) stands as one of the greatest successes of the composer and the legendary dance company. In fact, the original 1919 production featured choreography by Léonide Massine and set designs by Pablo Picasso—an exceptionally talented and matchless team! De Falla drew his inspiration from Andalusian folk music, integrating traditional dances such as flamenco, fandango, and jota into his ballet, depicting Spain with virtuosity, colour and sensuality.
© François Zeitouni
Silvestre REVUELTAS
1899-1940
Janitzio
Violinist, composer and conductor Silvestre Revueltas is considered one of the most original Mexican composers of the 20th century. Like de Falla, he drew inspiration from his country’s folk music and dances in many of his works. This is exemplified in his symphonic poem Janitzio (1933), which vividly portrays the island of the same name. Situated in the middle of Lake Pátzcuaro and home to a large Indigenous community, the island is famous for its nocturnal Day of the Dead processions.
© François Zeitouni
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The OM at the Festival des Arts de Saint-Sauveur
Wednesday, July 31st, 7:30 PM
Festival des Arts de Saint-Sauveur
