Article snapshot taken from Wikipedia with creative commons attribution-sharealike license.
Give it a read and then ask your questions in the chat.
We can research this topic together.
You can help expand this article with text translated from the corresponding article in French. (March 2019) Click for important translation instructions.
View a machine-translated version of the French article.
Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Misplaced Pages.
Consider adding a topic to this template: there are already 1,674 articles in the main category, and specifying|topic= will aid in categorization.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing French Misplaced Pages article at ]; see its history for attribution.
You may also add the template {{Translated|fr|Furiant}} to the talk page.
A furiant is a rapid and fiery Bohemiandance in alternating 2/4 and 3/4 time, with frequently shifting accents; or, in "art music", in 3/4 time "with strong accents forming pairs of beats".
The stylised form of the dance was often used by Czech composers such as Antonín Dvořák in the first and eighth dances from his Slavonic Dances, Piano Quintet Op. 81 and 6th Symphony; in his Czech Suite, fifth movement; in his Terzetto for Two Violins and Viola, third movement; and by Bedřich Smetana in The Bartered Bride and in his second volume for piano of Czech Dances (České tance 2), published in 1879 (Op. 21). It was also used by Brahms in the middle section of the second movement of his Sextet No. 2 in G Major.
The use of the furiant by central European composers closely parallels their use of the dumka, a dance which often precedes the furiant.
Notes
Randel, D. M., Ed., The New Harvard Dictionary of Music, Harvard University Press, 1986.
Wright, Craig (2007). Listening to Music. Cengage Learning. p. 323. ISBN978-0-495-18973-2.
