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His only famous work is his Csárdás, written around 1904 and played by almost every gypsy orchestra.
The Csárdás is undoubtedly the most popular and important dance in the Hungarian repertoire.
Due to Hungarian influence, the Csárdás remains one of the most popular dances among all ethnic groups.
Some critics consider this work more interesting musically than its more famous cousin, the Csárdás macabre.
Hungarian Csárdás song-dances are always syncopated.
Vittorio Monti, who around 1904 composed the famous Csárdás, studied violin and composition at this conservatory.
The Csárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style.
The origin of the Csárdás can be traced back to the 18th century Hungarian verbunkos, used as a recruiting dance by the Hungarian army.
Figures danced during the Swift Csárdás include the lippentos-martogatos (crouching-dunking), turning in pairs, and playful alluring and releasing of the partner.
Then Falke introduces the disguised Rosalinde to Eisenstein (Csárdás: "Sounds from home").
It incorporates the melody from the Hungarian violin piece "Csárdás" by Italian composer Vittorio Monti.
The Csárdás is characterized by a variation in tempo: it starts out slowly (lassú) and ends in a very fast tempo (friss, literally "fresh").
From the men's intricate bootslapping dances to the ancient women's circle dances, Csárdás demonstrates the infectious exuberance of the Hungarian folk dancing still celebrated in the villages.
Dances originating outside the Ukrainian ethnic region but which are also popular include: the Polka, Mazurka, Krakowiak, Csárdás, Waltz, Kamarynska and Barynya.
When Max eventually meets Daniella, it is at a restaurant where Claude, overwhelmed with jealousy, duels Max with violins by playing a Csárdás, the famous composition of Vittorio Monti.
He considered Camille Saint-Saëns a musical ally, setting his Danse macabre in 1876; this work in turn may have influenced some of Liszt's later diabolic works, such as the Csárdás macabre.
Two notable examples of this are an entire section of Vittorio Monti's Csárdás and a passage towards the middle of the third movement of Pyotr Ilyich Tchaikovsky's Violin Concerto.
La Csárdás, notes et impressions d'un Français en Autriche, en Hongrie, en Roumanie, en Angleterre, en Italie, en Suisse, en Belgique, en Hollande, en France (1888)
