Shostakovich composed one of these dances as an interlude between the scenes in Kovalev's bedroom and Kazan Cathedral in Act I of his opera The Nose. These dances are the final movements of Bizet's Petite Suite and Khachaturian's Masquerade suite. Hans Christian Lumbye depicted the popping of a cork at the beginning of one he composed named for a b
Shostakovich composed one of these dances as an interlude between the scenes in Kovalev's bedroom and Kazan Cathedral in Act I of his opera The Nose. These dances are the final movements of Bizet's Petite Suite and Khachaturian's Masquerade suite. Hans Christian Lumbye depicted the popping of a cork at the beginning of one he composed named for a bottle of champagne. Dmitry Kabalevsky composed a frequently excerpted example of these dances as the second movement of his suite The Comedians. Liszt often ended his concerts with a virtuosic "grand chromatique" piece of this type. Music hall chorus lines often perform a certain high-kicking dance to the "infernal" one of these pieces from the final scene of Orpheus in the Underworld. Rossini used its driving rhythm for the finale of the William Tell Overture. For 10 points, name this ballroom dance from which the can-can was derived, that imitates the fastest gait of a horse.