Polka in the 19th century also wrote many polkas to satisfy the demands of the dance-music-loving Viennese. In France, another dance-music composer Emile Waldteufel also wrote many polkas in addition to his chief profession of penning waltzes. The polka evolved during the same period into different styles and tempi. In principle, the polka written in the 19th century has a 4-theme structure; themes 1A and 1B as well as a 'Trio' section of a further 2 themes. The 'Trio' usually has an 'Intrada' to form a break between the two sections. The feminine and graceful 'French polka' (polka française) is slower
Pavane (Fauré) Passepied in his "Suite bergamasque" and Ravel's "Pavane pour une infante défunte", and "Pavane de la belle au bois dormant" in "Ma mère l'oye". The lyrics, which are optional in the orchestral version, were written by the French Robert de Montesquiou. C'est Lindor, c'est Tircis et c'est tous nos vainqueurs! C'est Myrtille, c'est Lydé! Les reines de nos coeurs! Comme ils sont provocants! Comme ils sont fiers toujours! Comme on ose régner sur nos sorts et nos jours! Faites attention! Observez la mesure! Ô la mortelle injure! La cadence est moins lente! Et la chute plus sûre! Nous rabattrons bien