Question: Who composed the tune most closely associated to the "Infernal Galop" as part of the "Orpheus in the Underworld" opera?

full_context: Document 1: Can-can: The can-can (or cancan as in the original French; ] ) is a high-energy, physically demanding dance which became a popular music hall dance in the 1840s, continuing in popularity in French cabaret to this day. Originally danced by both sexes, it is now traditionally associated with a chorus line of female dancers. The main features of the dance are the high kicks, splits and cartwheels. The "Infernal Galop" from Jacques Offenbach's "Orpheus in the Underworld" is the tune most associated with the can-can.
Document 2: La Goulue: Louise Weber (13 July 1866, Alsace-Lorraine – 30 January 1929) was a French can-can dancer who performed under the stage name of La Goulue (] ; "the glutton"). She also was referred to as the Queen of Montmartre.
Document 3: Fromental Halévy: Jacques-François-Fromental-Élie Halévy, usually known as Fromental Halévy (] ; 27 May 179917 March 1862), was a French composer. He is known today largely for his opera "La Juive".
Document 4: Jacques Offenbach: Jacques Offenbach (] ; ] ; 20 June 1819 – 5 October 1880) was a German-born French composer, cellist and impresario of the romantic period. He is remembered for his nearly 100 operettas of the 1850s–1870s and his uncompleted opera "The Tales of Hoffmann". He was a powerful influence on later composers of the operetta genre, particularly Johann Strauss, Jr. and Arthur Sullivan. His best-known works were continually revived during the 20th century, and many of his operettas continue to be staged in the 21st. "The Tales of Hoffman" remains part of the standard opera repertory.
Document 5: Orpheus in the Underworld: Orphée aux enfers, whose title translates from the French as Orpheus in the Underworld, is an opéra bouffe (a form of operetta), or opéra féerie in its revised version. Its score was composed by Jacques Offenbach to a French text written by Ludovic Halévy and later revised by Hector-Jonathan Crémieux.
Document 6: List of Orphean operas: Operas based on the Orphean myths, and especially the story of Orpheus' journey to the underworld to rescue his wife, Eurydice, were amongst the earliest examples of the art form and continue to be written into the 21st century. Orpheus, the Greek hero whose songs could charm both gods and wild beasts and coax the trees and rocks into dance, has achieved an emblematic status as a metaphor for the power of music. The following is an annotated list of operas (and works in related genres) based on his myth. The works are listed with their composers and arranged by date of first performance. In cases where the opera was never performed, the approximate date of composition is given.
Document 7: Jane Avril: Jane Avril (9 June 186817 January 1943) was a French can-can dancer made famous by Henri de Toulouse-Lautrec through his paintings. Extremely thin, 'given to jerky movements and sudden contortions', she was nicknamed "La Mélinite", after an explosive.
Document 8: Dance music: Dance music is music composed specifically to facilitate or accompany dancing. It can be either a whole musical piece or part of a larger musical arrangement. In terms of performance, the major categories are live dance music and recorded dance music. While there exist attestations of the combination of dance and music in ancient times (for example Ancient Greek vases sometimes show dancers accompanied by musicians), the earliest Western dance music that we can still reproduce with a degree of certainty are the surviving medieval dances. In the Baroque period, the major dance styles were noble court dances (see Baroque dance). In the classical music era, the minuet was frequently used as a third movement, although in this context it would not accompany any dancing. The waltz also arose later in the classical era. Both remained part of the romantic music period, which also saw the rise of various other nationalistic dance forms like the barcarolle, mazurka, ecossaise, ballade and polonaise.
Document 9: Pas de deux: In ballet, a pas de deux ] (French, literally "step of two") is a dance duet in which two dancers, typically a male and a female, perform ballet steps together. The pas de deux is characteristic of classical ballet and can be found in many well-known ballets, including "Sleeping Beauty", "Swan Lake", and "Giselle". It is most often performed by a male and a female (a "danseur" and a "ballerina") though there are exceptions, such as in the film "White Nights", in which a pas de deux is performed by Mikhail Baryshnikov and Gregory Hines.
Document 10: Le comte Ory: Le comte Ory is an opéra written by Gioachino Rossini in 1828. Some of the music originates from his opera "Il viaggio a Reims" written three years earlier for the coronation of Charles X. The French libretto was by Eugène Scribe and Charles-Gaspard Delestre-Poirson adapted from a comedy they had first written in 1817.
Document 11: Orfeo ed Euridice: Orfeo ed Euridice (French version: Orphée et Eurydice ; English: "Orpheus and Eurydice") is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the "azione teatrale", meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at the Burgtheater in Vienna on 5 October 1762 in the presence of Empress Maria Theresa. "Orfeo ed Euridice" is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of "opera seria" with a "noble simplicity" in both the music and the drama.
Document 12: Galop: In dance, the galop, named after the fastest running gait of a horse (see gallop), a shortened version of the original term galoppade, is a lively country dance, introduced in the late 1820s to Parisian society by the Duchesse de Berry and popular in Vienna, Berlin and London. In the same closed position familiar in the waltz, the step combined a "glissade" with a "chassé" on alternate feet, ordinarily in a fast time. The "galop" was a forerunner of the polka, which was introduced in Prague ballrooms in the 1830s and made fashionable in Paris when Raab, a dancing teacher of Prague, danced the polka at the Odéon Theatre, 1840. In Australian bush dance, the dance is often called galopede. An even more lively, faster version of the galop called the can-can developed in Paris around 1830.
Document 13: La Périchole: La Périchole (] ) is an opéra bouffe in three acts by Jacques Offenbach. Henri Meilhac and Ludovic Halévy wrote the French-language libretto based on the 1829 one act play "Le carrosse du Saint-Sacrement" by Prosper Mérimée, which was revived on 13 March 1850 at the Théâtre-Français. Offenbach was probably aware of this production, as he conducted the orchestra of the Comédie-Française from around this time. Another theatrical creation that pre-dates Offenbach's opéra bouffe and may have influenced the piece is a farce by Desforges and Théaulon given on 21 October 1835 at the Théâtre du Palais-Royal.
Document 14: Saltarello: The saltarello is a musical dance form originally from Italy. The first mention of it is in Add MS 29987, a fourteenth-century manuscript probably of Tuscan origin, now in the British Library. It was played in a fast triple meter and is named for its peculiar leaping step, after the Italian verb "saltare" ("to jump"). This characteristic is also the basis of the German name "Hoppertanz" or "Hupfertanz" ("hopping dance"); other names include the French "pas de Brabant" and the Spanish "alta" or "alta danza".
Document 15: Dance of the Hours: Dance of the Hours (Italian: "Danza delle ore ") is a short ballet and is the act 3 finale of the opera "La Gioconda" composed by Amilcare Ponchielli. It depicts the hours of the day through solo and ensemble dances. The opera was first performed in 1876 and was revised in 1880. Later performed on its own, the "Dance of the Hours" was at one time one of the best known and most frequently performed ballets. It became even more widely known after its inclusion in the 1940 Disney animated film "Fantasia" where it is depicted as a comic ballet featuring anthropomorphized ostriches, hippos, elephants, and alligators.
ground_truth: Jacques Offenbach