0:00:27 > 0:00:31Tonight's Friday Night at the Proms is all about movement.
0:00:31 > 0:00:34The impulse to dance as expressed in music.
0:00:34 > 0:00:37On stage already is the BBC Philharmonic Orchestra,
0:00:37 > 0:00:42waiting for their chief conductor, Juanjo Mena, to come to the podium.
0:00:42 > 0:00:44There's excitement in the Royal Albert Hall,
0:00:44 > 0:00:45because in the second half,
0:00:45 > 0:00:48the Antonio Marquez Dance Company from Spain
0:00:48 > 0:00:53will join the orchestra on stage to perform Ravel's famous Bolero
0:00:53 > 0:00:55and de Falla's Three-Cornered Hat.
0:00:55 > 0:00:59But before that, we shall be treated to Beethoven's 7th Symphony.
0:00:59 > 0:01:04A piece described by Wagner as, "The apotheosis of the dance."
0:01:04 > 0:01:08Beethoven's 7th Symphony was one of the composer's own favourite works.
0:01:08 > 0:01:11He loved both its energy and its rhythmic drive.
0:01:11 > 0:01:13And it was perhaps those two elements that combined
0:01:13 > 0:01:17to give the feeling of dance movement that Wagner alluded to.
0:01:18 > 0:01:21The symphony starts with a ground and balanced opening, and soon
0:01:21 > 0:01:25flings itself into an energetic and unpredictable first movement.
0:01:25 > 0:01:29There are these obsessive rhythms and primal musical elements,
0:01:29 > 0:01:33from which Beethoven builds the four movements of this epic symphony.
0:01:33 > 0:01:34It is fabulous music.
0:01:34 > 0:01:36APPLAUSE
0:01:36 > 0:01:40Here now is the chief conductor of the BBC Philharmonic, Juanjo Mena,
0:01:40 > 0:01:44coming on stage to conduct Beethoven's 7th Symphony.
0:02:00 > 0:02:03MUSIC: "Symphony No. 7 - Poco Sostenuto Vivace" by Beethoven
0:15:47 > 0:15:50APPLAUSE
0:16:05 > 0:16:08MUSIC: "Symphony No. 7 - Allegretto" by Beethoven
0:24:06 > 0:24:08APPLAUSE
0:24:16 > 0:24:20MUSIC: "Symphony No. 7 - Presto Assai Meno Presto" by Beethoven
0:31:06 > 0:31:09APPLAUSE
0:31:14 > 0:31:17MUSIC: "Symphony No. 7 - Allegro Con Brio" by Beethoven
0:37:34 > 0:37:36APPLAUSE
0:37:45 > 0:37:50A wild bacchanal to end Beethoven's 7th Symphony.
0:37:50 > 0:37:52How appropriate that it was actually the very first use
0:37:52 > 0:37:56of orchestral music of the triple forte - fff.
0:37:56 > 0:37:59Very, very loud indeed.
0:37:59 > 0:38:03The BBC Philharmonic Orchestra with the conductor Juanjo Mena.
0:38:05 > 0:38:07This is only the third season
0:38:07 > 0:38:10that Juanjo Mena has been with the orchestra,
0:38:10 > 0:38:13but they're clearly having a ball together.
0:38:19 > 0:38:22Next in this Prom, the BBC Philharmonic will be joined
0:38:22 > 0:38:26by the Antonio Marquez Dance Company from Madrid
0:38:26 > 0:38:29for de Falla's ballet The Three-Cornered Hat
0:38:29 > 0:38:31and Ravel's Bolero.
0:38:31 > 0:38:33Tonight is all about that urge to dance,
0:38:33 > 0:38:37so we decided to find out what it is about music
0:38:37 > 0:38:39that can make us want to move our bodies.
0:38:39 > 0:38:42Is it just the rhythm or are there other factors?
0:38:44 > 0:38:47Everyone can dance. You can two-step, you can feel the music.
0:38:47 > 0:38:50It's just how it is. It's life.
0:38:50 > 0:38:54Movement is universal, we all know what it says, what it feels like.
0:38:54 > 0:38:57It's just a thing that all humans share.
0:38:57 > 0:39:02I think, for me, dancing is the most natural instinctive way of being
0:39:02 > 0:39:07and often it allows me to express things better than I could in words.
0:39:09 > 0:39:13At the most basic level, most music has a, kind of, regular pulse.
0:39:13 > 0:39:15A beat.
0:39:15 > 0:39:17And there is this really, it seems to me,
0:39:17 > 0:39:21very fundamental, innate urge to entrain with the beat.
0:39:24 > 0:39:27You could say that our urge to dance is motivated by that.
0:39:30 > 0:39:32Inside your body, you have your heartbeat,
0:39:32 > 0:39:35which has always got a constant beat, on and on and on.
0:39:35 > 0:39:37And your walking has a rhythm, so it's like
0:39:37 > 0:39:39one, two, one, two, one, two.
0:39:39 > 0:39:42Even if you miss a step, you still have that offbeat.
0:39:42 > 0:39:46So you continually have music within your day-to-day life.
0:39:48 > 0:39:51From a psychological and neuroscientific perspective,
0:39:51 > 0:39:52dance and music are really interesting.
0:39:52 > 0:39:56They're a domain in which humans are developing
0:39:56 > 0:39:58really fine motor control,
0:39:58 > 0:40:01so to use our fingers and our bodies extremely well.
0:40:01 > 0:40:04And that obviously has great rewards for any organism,
0:40:04 > 0:40:07to be able to manipulate your environment is great.
0:40:07 > 0:40:12And music is a way of developing those skills, as is dance.
0:40:12 > 0:40:15For me, it's the emotional connection I have with it.
0:40:15 > 0:40:18So I could be walking down the street listening to music,
0:40:18 > 0:40:22and I'll just start moving without even realising,
0:40:22 > 0:40:25cos it just has this sort of connection with me.
0:40:25 > 0:40:27It takes hold of me, in a sense.
0:40:29 > 0:40:32When he was hitting the ground and I saw his excitement from him
0:40:32 > 0:40:36banging the music, I'm just like, "Wow, he's really into it.
0:40:36 > 0:40:38"I'm really going to get into it as well."
0:40:38 > 0:40:41So it's kind of like feeding off the energy.
0:40:41 > 0:40:43It feels like I'm in a bubble,
0:40:43 > 0:40:46but everything is flying towards me, and it's up to me how I react.
0:40:46 > 0:40:49So if I have a piece of music that's coming to me, I can grab it,
0:40:49 > 0:40:53throw it up, catch it and be able to just move along with it.
0:40:53 > 0:40:54If I have some strings...
0:40:54 > 0:40:57strings tend to float, so you kind of float with the strings.
0:40:57 > 0:41:01You can bring them in. It's kind of just playing in your bubble.
0:41:01 > 0:41:03There's no right, there's no wrong.
0:41:03 > 0:41:07It's how you want and what you want.
0:41:07 > 0:41:09When I'm really into a piece of music,
0:41:09 > 0:41:11when the music has really taken over me
0:41:11 > 0:41:15and I'm in that world where no-one else exists
0:41:15 > 0:41:17and I'm just feeling all those things...
0:41:17 > 0:41:19Obviously, my mind isn't blank,
0:41:19 > 0:41:23but you could take me off-stage or take the music away after
0:41:23 > 0:41:27however long it is, and I wouldn't be able to tell you what I was thinking.
0:41:27 > 0:41:31It's weird. I don't know what happened for those minutes.
0:41:33 > 0:41:35- NICOLA:- Its phrases, its melodies, its rhythms.
0:41:35 > 0:41:38Its textures, the tensions, the relaxations in the music.
0:41:38 > 0:41:40All of those are being expressed by our bodies
0:41:40 > 0:41:42when we listen to music and move to it.
0:41:44 > 0:41:47I hope that's got you in the mood for dancing.
0:41:47 > 0:41:49So next we're going to hear and see
0:41:49 > 0:41:52The Three-Cornered Hat by Manuel de Falla,
0:41:52 > 0:41:55a comedy ballet created for Sergei Diaghilev
0:41:55 > 0:41:57and his Ballets Russes in 1919.
0:41:57 > 0:42:01It uses folk song music from southern Spain,
0:42:01 > 0:42:02and there's a female soloist
0:42:02 > 0:42:05who sings in a rather mournful flamenco style.
0:42:05 > 0:42:09The story is a kind of simple pantomime about a magistrate trying
0:42:09 > 0:42:11to seduce a miller's wife
0:42:11 > 0:42:13and eventually getting his comeuppance.
0:42:15 > 0:42:17So to join the BBC Philharmonic Orchestra
0:42:17 > 0:42:19on stage at the Proms,
0:42:19 > 0:42:23here comes the Spanish mezzo-soprano Clara Mouriz
0:42:23 > 0:42:25and conductor Juanjo Mena.
0:42:25 > 0:42:26APPLAUSE
0:42:26 > 0:42:28And they'll be joined shortly by members
0:42:28 > 0:42:31of the Antonio Marquez Dance Company.
0:42:57 > 0:43:01MUSIC: "The Three-Cornered Hat" by Manuel de Falla
0:43:22 > 0:43:25SHE SINGS IN SPANISH
0:43:36 > 0:43:39SHE SINGS IN SPANISH
0:55:00 > 0:55:02QUIET AUDIENCE LAUGHTER
0:56:06 > 0:56:08SHE SINGS IN SPANISH
0:57:55 > 0:57:57APPLAUSE
1:01:30 > 1:01:33APPLAUSE
1:04:32 > 1:04:34LOUD APPLAUSE AND CHEERING
1:07:14 > 1:07:17WOMAN SINGS OFF-STAGE
1:07:52 > 1:07:54SINGING CONTINUES
1:10:32 > 1:10:33QUIET AUDIENCE LAUGHTER
1:11:09 > 1:11:11HE SNEEZES
1:11:50 > 1:11:53LAUGHTER
1:11:59 > 1:12:01HE EXCLAIMS
1:12:15 > 1:12:16HE EXCLAIMS
1:15:00 > 1:15:02HE EXCLAIMS
1:23:18 > 1:23:20LOUD APPLAUSE AND CHEERING
1:23:27 > 1:23:31The castanets brought to an end there the remarkable performance
1:23:31 > 1:23:34of The Three-Cornered Hat by Manuel de Falla.
1:23:34 > 1:23:38The Antonio Marquez Company dancing here at the Proms
1:23:38 > 1:23:43with the BBC Philharmonic Orchestra, Juanjo Mena conducting.
1:23:43 > 1:23:46What a conjunction of Spanish performers.
1:23:50 > 1:23:53And the magistrate here - Jairo Rodriguez.
1:23:56 > 1:23:59Elena Mino playing the miller's wife.
1:24:05 > 1:24:08And here comes the miller, Antonio Marquez, who set up
1:24:08 > 1:24:11this remarkable dance company back in 1995.
1:24:31 > 1:24:36And the mezzo-soprano, Clara Mouriz, who was embedded
1:24:36 > 1:24:40in the orchestra, making her Proms debut, taking her bow.
1:24:54 > 1:24:56After the brilliance,
1:24:56 > 1:24:58comedy and colour of that performance,
1:24:58 > 1:25:01the Antonio Marquez Company will be returning for one
1:25:01 > 1:25:06of the iconic pieces of the 20th century, Ravel's Bolero.
1:25:06 > 1:25:08It was originally composed as a ballet
1:25:08 > 1:25:11but has generated its own life in the concert hall.
1:25:11 > 1:25:15Bolero starts with a famously hypnotic rhythm on the side drum,
1:25:15 > 1:25:18a rhythm which remains constant throughout which is joined
1:25:18 > 1:25:22by a mesmerising melody snaking its way
1:25:22 > 1:25:25through the different instruments until the whole orchestra
1:25:25 > 1:25:28is involved in a cataclysmic conclusion.
1:25:28 > 1:25:30A simple idea but a work of genius,
1:25:30 > 1:25:34which has become Ravel's most famous musical composition.
1:25:34 > 1:25:38Let's go back to the Antonio Marquez Dance Company
1:25:38 > 1:25:43with the BBC Philharmonic Orchestra and Juanjo Mena for Ravel's Bolero.
1:25:43 > 1:25:45APPLAUSE
1:25:45 > 1:25:48MUSIC: "Bolero" by Maurice Ravel
1:39:46 > 1:39:49WILD APPLAUSE AND CHEERING
1:40:05 > 1:40:08You'll have heard Bolero before, but I'm sure you've never seen it
1:40:08 > 1:40:10quite like this before.
1:40:10 > 1:40:15The Antonio Marquez Dance Company in Ravel's Bolero
1:40:15 > 1:40:17with the BBC Philharmonic Orchestra.
1:40:20 > 1:40:23And it's exciting to see how youthful this company is
1:40:23 > 1:40:25with the youngest just 19.
1:40:25 > 1:40:28But there are no concessions to youth - Marquez has been performing
1:40:28 > 1:40:31with total conviction and supreme bravura.
1:40:31 > 1:40:36You feel they really do represent the future of Spanish dance.
1:40:36 > 1:40:38AUDIENCE CLAP IN RHYTHM WITH MUSIC
1:40:45 > 1:40:46You know, earlier,
1:40:46 > 1:40:50I spoke to Cristina Gargot of the Antonio Marquez dancers,
1:40:50 > 1:40:52and she spoke of her joy at performing here
1:40:52 > 1:40:55at the Royal Albert Hall, particularly when thinking about
1:40:55 > 1:41:00all the historical performances that have taken place on this stage.
1:41:00 > 1:41:02The experience of dancing with the orchestra
1:41:02 > 1:41:06so close behind her is incredibly exciting, she said.
1:41:20 > 1:41:22Antonio Marquez, the director
1:41:22 > 1:41:25and the principal dancer of this company.
1:41:25 > 1:41:29Born in Seville, he trained at Spain's National Ballet School
1:41:29 > 1:41:32before making a name for himself in traditional dance.
1:41:32 > 1:41:35He absolutely embodies the fabulous fusion of traditional and new,
1:41:35 > 1:41:38classical and folk that we saw tonight.
1:41:40 > 1:41:42Vivid and dynamic.
1:41:49 > 1:41:52That's it from the BBC Proms for tonight.
1:41:52 > 1:41:56Next Friday Night at the Proms, two of the most famous classical pieces ever -
1:41:56 > 1:42:02Beethoven's 5th Symphony and Johann Strauss's Blue Danube.
1:42:02 > 1:42:04Over on BBC Two tomorrow evening at seven o'clock,
1:42:04 > 1:42:08Katie Derham will be here with Proms Extra. And this coming Sunday,
1:42:08 > 1:42:11Tom Service continues his exploration
1:42:11 > 1:42:13of 20th Century Classics.
1:42:13 > 1:42:16As ever, you can listen to the Proms live every night
1:42:16 > 1:42:18of the summer on Radio 3.
1:42:18 > 1:42:22But for now, from me, Samira Ahmed, good night.
1:42:22 > 1:42:23Subtitles by Red Bee Media Ltd