Music on Sundays 4 Dancing through the Ages

The Splendour of Dance Music

Let the orchestra and Eivind Aadland transport you back, with a little help from Bach and Haydn, to the elegance of the eighteenth century aristocracy, when dukes and duchesses, counts and countesses danced minuets and gavottes at court balls amid gilded salons under chandeliers. Succumb to the greatest Broadway waltz from Rogers and Hammerstein's Carousel and the rustic charm of Dvorak's Slavonic Dances. Shostakovich is not a composer normally associated with levity, but hear the result of a 1927 challenge for him to arrange a piece of music in 45 minutes: an arrangement of Tea for Two from Vincent Yeomans' musical No, No, Nanette.

Conductor Eivind Aadland
Presenter Guy Noble
Violin Warwick Adeney

Including music from:
Bizet L'Arlésienne
Rodgers Carousel
Shostakovich Tea for Two
Arnold English Dances
Haydn Symphony 102
Rachmaninov Aleko
Handel Water Music
Bach Orchestral Suites
Dvorak Slavonic Dances

 

Eivind Aadland

Eivind Aadland is one of Scandinavia's most respected conductors. He has been Music Director of the European Union Chamber Orchestra and Chief Conductor and Artistic Leader of the Trondheim Symphony Orchestra. Maestro Aadland maintains regular relationships with many leading European Orchestras and this year he joins QSO as Principal Guest
Conductor for five highly anticipated concerts including The Organ Symphony on 16 June, Beethoven 7 on 25 June, Tchaikovsky Symphony 4 on 10 November, Mahler 4 on 5 November, as well as Dancing Through the Ages. Maestro Aadland is looking forward to working with QSO.

Guy Noble

Guy Noble has a prominent career in the music industry. He sang with both the Sydney Symphony and the Australian Opera as a child and later graduated as a pianist from Sydney's Conservatorium of Music. Mr Noble has been a broadcaster on ABC Classic FM's Breakfast show and on BBC Radio 3 and conducted numerous orchestras both nationally and
internationally. Mr Noble is polishing his shoes in preparation for this dancing extravaganza.

"I would love to get up en pointe, but I fear that my toes would crack with the strain of it," Mr Noble said. "I think music written for dance (or about dance) has such great internal drive and energy. Dance music usually requires a good forward rhythmic movement, the sort of energy that can lift dancers up in the air. I think sometimes composers don't take themselves quite as seriously in dance music too," Mr Noble said.