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Choral Review
Choral Review

Lionel Daunais’s Figures de danse: University of North Texas, University of Wyoming,
An Accessible & Theatrical Québécois and Vancouver Youth Chorus. As the majority of cho-
Choral Gem ral repertoire deals with the topics of love and loss,
Daunais’s Figures de danse can serve as a light-hearted
by Brian C. Murray and comedic foil to an otherwise serious and moder-
ate-to-slow program.
Lionel Daunais (1901–1982) was a prominent twen- Upon winning the Prix d’Europe in 1926, Daunais’s
tieth-century Québécois musician whose compositions— career as a singer soared. After studies in Paris and
solo vocal works, song cycles, folksong arrangements, work with the Algiers Opera, he returned to Montréal,
individual choral works, and multi-movement choral where he founded le Trio Lyrique and Les Variétés Lyr-
works—markedly impacted Canadian music. This iques. As a renowned vocalist, his compositions exude
choral review offers an overview of Daunais’s Figures the effortless melodicism of French mélodie. Daunais’s
de danse, which features his signature luxurious vocal works all feature traditional harmonic language, idiom-
writing and refined drollery. Through six nonsensical atic vocal writing, and often include challenging piano
movements, Daunais delves into death and dance with accompaniments. His foremost attribute, however, is a
exquisite choral and piano writing. As the entire work is dedication to the text—often humorous and written by
in French, reading a translation before each movement Daunais himself.
may benefit a non-French speaking audience. This nar- Figures de danse comprises six short tragicomic minia-
ration is an invaluable opportunity to collaborate with tures for mixed choir and piano. In his whimsical and
colleagues in theatre and dance, adding vibrancy and nuanced writing, Daunais explores the outlandish fates
humor to the performance. of various dancers. Éditions d’Alliance first published the
Figures de danse is appropriate for youth choirs, com- choral score in 1975. They published the piano accom-
1
munity choirs, university choirs, and professional choirs paniment as a separate score in 1992.
alike. And indeed, it has seen performances by myri- Each movement in the work functions as a stand-
ad types of choral ensembles at institutions including alone caricature. In the opening movement, “Pas
Baylor University, Canadian Chamber Choir, Chœur grave,” Daunais succinctly reports of Natascha’s deter-
de Chambre du Québec, Creekview High School, mination to conclude her dance career at the behest
Michigan State University, R.L. Turner High School, of a Shah, who lavishes her with exotic jewelry. Next,

CHORAL JOURNAL August 2025 Volume 66 Number 1 59