On the eve of the composer's birthday, 7 December 1926, at the Soirée Tchécoslovaque held at the Galérie de la Boëtie, Lydia Wisiak and Václav Vlček (with Libuše Nováková at the piano) danced to the now lost Habanera, H 156. Wisiak, a dancer from Ljubljana, at that time a member of the Opéra comique ballet, was one of the friends of the Špaček family and Bohuslav Martinů. [Her choreographic treatment was also given to the piece Blues, H 176.]
The Martinů compositions already then called for movement, perhaps because of their modern character and original metre. Interestingly, the piano trifle Par T.S.F., H 173bis, also achieved a choreographic treatment (in New York in 1933, choreographed by the Russian dancer Elizabet Delza, also performing under the name Gorham Munson). Martinů, as the author of a number of ballets, had an appreciation for this field from his youth, and even occasionally accompanied dance creations in Paris as an accompanist in the studio of his compatriot Zdenka Podhajská.
Jaroslav Mihule, Martinů: osud skladatele, Prague: Karolinum, 2002, p. 144–145 [added and corrected by Jana Burdová, 2025].