[4][5][contradictory] In 1952 Xavier Francis choreographed the Toccata for the Academia de la Danza Mexicana, under the title Tóxcatl.

[7] For the U.S. premiere, during which the composer himself conducted the Los Angeles Philharmonic, Chávez wrote in the program notes that "The Toccata was written as an experiment in orthodox percussion instruments – those used regularly in symphony orchestras, that is, avoiding the exotic and the picturesque.

"[5] The first and last movements of the three-movement work are both in sonata form, during which the composer explores long, sustained rolls, and syncopated patterns.

The slow middle movement emphasizes the timbres and tones of the metallic, normally atonal[citation needed] percussion instruments.

[5][2] The piece has been described as rhythmically ebullient,[8] and as a brilliant study of rhythm and color, "creating an original climate of intense attractiveness and achieving great diversity of accents, sounds, and nuances.