Here’s a lovely idea for a Sunday in April—come to Charing in Kent for a day of learning to dance 19th century quadrilles with early dance expert Nicola Gaines.
Nicola and I have done a few of these workshops before, and they are great fun, but also a wonderful challenge, as there are so many variants and possible embellishments of the basic idea. They’re also just very jolly and social.
The day runs as follows:
10.45 Registration and coffee
11.15 Session One – Warm up, Steps and Patterns
1.15 Lunch – please bring snacks
2.00 Session Two – learning the first set and adaptations for use in class
It’s a bargain at £35 for the day, £25 for concessions, £20 for observers.
Location of Charing Parish Hall
Quadrilles — some background on the music
Readers of this site will know that I have a bit of a fascination for quadrilles. The interest began when I realised how much of the 19th century ballet repertoire owed to the rhythms and structures of quadrilles. Like other ballet pianists, I had searched the classical repertoire I knew for pieces that were suitable for battements glissés exercises and petit allegros in 2/4 or 6/8, and found very little. The day I discovered quadrilles, I realised I’d been looking in the wrong place all the time. (see earlier quadrille post).
Quadrille music is kind of the Hooked On Classics of the 19th century. Composers threw together all the best tunes from opera, operettas, and ballets, making cuts and changes of tempo or time signature just so you could carry on dancing to it in the form of the dance that you were expecting. Sometimes, you have to listen twice to realise that some deadly serious tune has been turned into a 32-count galop, or conversely—as in the article on Rossini below—you are taken aback to realise that “serious music” in fact has all the hallmarks of a quadrille (Odette’s 6/8 coda in Act II of Swan Lake is a prime example—it’s prime jigging-about music).
Any production of ROSSINI must bear his mark upon it, and must breathe his spirit: what that is may be best understood from the appearance of a set of “Stabat Mater Quadrilles.” This publication—a gross outrage upon decency, it must be confessed—shows the sort of ideas which ROSSINI’S music generates: and it shows also that those ideas are the very reverse of those which are conveyed in the words. Why is not PURCELL’S Burial-Service turned into a set of quadrille?—Not probably, from any regard to decorum if the speculation would be a profitable one, but simply because the thing is impossible.
(From The Spectator, No. 749, week ending Saturday November 5th, 1842, p. 1068)