'As always, it was sheer pleasure to observe Robin Hill's remarkable fluent technique: everything looks easy when he plays it.' Colin Cooper- Classical Guitar Magazine ----- 'Wonderful for their (Hill & Wiltschinsky) precision, touch and clarity of sound... refined virtuosity, the achievement of a long interpretive process.' Il Giornale D'Italia (Rome) ----- 'I loved your CD and thought your technique and performance were fabulous...' Rick Wakeman

Friday, June 22, 2018

The Robin Hill Quartet play Claude Bolling - 'Concerto for Classic Guitar & Jazz Piano Trio'

I am delighted to announce the release of, The Robin Hill Quartet's recording of Claude Bolling's Concerto for Classic Guitar & Jazz Piano Trio. You can find it on iTunes, Amazon UK, Amazon USA, CD Baby, and wherever you normally buy your music!

Recent review: 5* "Simply amazing. Sheer musical quality from Robin Hill and his trio. I would urge all of you to purchase this and listen to one of the worlds greatest guitarists have fun!" Verified Purchase - Andrew Wright.

This is a unique piece allowing the classical guitar to be heard in unfamiliar company. The chief protagonists are the guitar and the piano who partake in a fascinating dialogue throughout the seven movements.

To hear the classical guitar in this company is refreshing and exciting. I should know, as I have performed the piece many times live, and audiences love it.

One of the most difficult challenges in performing this work is finding the right players. I've been lucky enough to manage this twice! Firstly with Eklectica and secondly, this current recording with the Robin Hill Quartet.

The guitar's role is primarily, but not exclusively, in classical style. For example, the opening movement requires technical precision allied with a classical approach but the 'Africaine' begs for a laid-back jazz groove.
The piano's role is both as an improvising jazz voice combined with the discipline of more classical writing. Thus it is very challenging to find a pianist who is comfortable in both camps. Stephen J. Wood fits the bill perfectly.

The percussion part is equally demanding and I have never heard it played better, or more effectively than by Maurice Cheetham. He combines energy, accuracy and groove with the needle-sharp articulation of a classical percussionist.

Dave Lynane supplies the essential jazz feel plus a significant contribution to the ensemble sound. The timbre of his double bass compliments the classical guitar beautifully.

I hope you enjoy the music, here is a review of a live performance we gave of this piece:

"This was the first performance by the quartet, consisting of Steve Wood, (Keyboards), Dave Lynane (Bass), Maurice Cheetham (drums) and Robin Hill (Classical Guitar). Of course, Robin Hill's reputation as a guitarist par excellence preceded him, but the quartet was an unknown quantity.
The second half was taken up entirely by Claude Bolling's seven-movement Concerto for Guitar and Jazz Trio. I am firmly convinced that it is only the unusual line up that has stopped this piece being played more often. It was melodic, firmly entrenched in jazz, and contained a heady mixture of classical, Latin American and other styles too. I was left with the impression of a piece one must simply hear again. The playing throughout was impeccable. It was very demanding on them all and, for a first performance by the band, we had all experienced something remarkable." Chris Dumigan - Classical Guitar.

Available from: iTunes, Amazon UK, Amazon USA, CD Baby and all digital outlets.

Wednesday, March 14, 2018

Sheet Music and Plenty of it...

Robin has always composed and arranged music. Some of our regular readers may remember the, 'Fandango in the Fridge' post...

Recently he has been extremely busy preparing many pieces for download with one simple click.

There are now nearly 60 such pieces available from Sheet Music Plus, for a variety of instruments.

The majority are guitar based, either solo or duo, but there are also arrangements for guitar and voice, flute and guitar, string quartet, piano and many more!

Many of the pieces are original compositions, such as, 'Return to Islay', or, 'Canzone', both for solo guitar, but also original compositions for guitar duos such as, 'Esercizio No.1 'Tarantella' for two guitars'.

For those with an interest in flamenco guitar you could try, 'Fiesta de Xabia' which is a fiery and lively piece.

However, there are also piano pieces, 'Joydance' being one.

Arranging music has played a huge role in Robin's life as a musician and he has always spent a great deal of time arranging, performing and recording the pieces of historical giants within the world of classical music. Some examples are, 'Prelude No 1 from The Well-Tempered Clavier, J.S.Bach, 'Sonata L.483 for solo guitar', Domenico Scarlatti, 'Rigaudon (arranged for two guitars)', Georg Frederic Handel, 'Escorregando (arranged for flute & Guitar)', Ernesto Nazareth, 'Pavane (Op.50 arranged for two guitars)', Gabriel Faure, and many, many more!

Traditional music, whether, Irish, or Christmas, can also be found.

There are too many pieces to mention individually here, but please feel free to have a look around on Sheet Music Plus and check back frequently as new compositions and arrangements are being added all the time.

If you feel a few Skype lessons could help get your fingers around some of the trickier pieces, well, just send me a message, and if there's any requests for a particular piece, well, you only have to ask.

Saturday, October 22, 2016

Ritual Fire Dance - Robin Hill & Peter Wiltschinsky New Release

This album was recorded without any edits, and on one track minus a shirt...all the playing is real and as it happened! The cover photo was taken at Hampton Court Palace during a break from recording in the beer cellar for BBC Radio.

It features an eclectic mix of composers including Domenico Scarlatti, Fernando Sor, Felix Mendelssohn, Pierre Petit, Mario Castelnuovo-Tedesco, Mauro Guiliani, Manuel de Falla, Jan Marten Komter, Robin Hill and Peter Wiltschinsky.

The album also features a traditional Jota, arranged by Hill/Wiltschinsky and two Elizabethan lute duets, the first, Le Rossignol is anonymous and the second, My Lord Chamberlian's Galliard by John Dowland.

The opening Scarlatti sonata was the product of many hours recording and finally the duo got it to their satisfaction. Robin sprang out of his seat to celebrate, went straight to an upright piano in the corner of the room and started to play some boogie-woogie. After some time an inexperienced, stand-in engineer announced to the studio, "You'll be pleased to hear I recorded that." "Not over the Scarlatti I hope?" replied Robin.
Unfortunately it was...
The duo had to start the process all over again, but a fine version resulted.

After finally getting the second Scarlatti recording the duo decided to have a break, as it was late in the evening by this point. They visited a local pub, had a few beers and returned to the studio where they then recorded Felix Mendelssohn's beautiful 'Song Without Words'. I feel this actually added a certain mellow dimension to the recording.

For some inexplicable reason, during the recording of Mauro Guiliani's Variazioni Conertanti, track 13, Robin's microphone was picking up the friction between his shirt and guitar quite loudly. After much experimentation he eventually took his shirt off and recorded the track bare chested which seemed to solve the problem!

The traditional Jota, track 3, with its blistering triplet variation was recorded first take!

The Ritual Fire Dance, track 15, was played for many years by the duo as the final item on their programme and always elicited an encore.

You can hear excerpts of this album on iTunes, Amazon and all the usual digital outlets.

Here are the liner notes, by John W Duarte:

Notes by John W. Duarte

Spain is the only country in which the guitar, in its various evolutionary forms, has played an uninterrupted part in the national music culture, yet the common description of the guitar as “Spanish” does not truly accord with the historical facts. The early (four and five-course) guitars were in use throughout Europe, the instrument in its present “classic” form probably first appeared in Italy or Austria, and only in the last decades of the 19th century and the first few of the 20th might it be said that the guitar’s centre of gravity lay firmly in Spain. Andrés Segovia reminded the rest of the world that the guitar is a beautiful and resourceful instrument, and that they were wrong in having allowed it to fall into neglect. The lesson was quickly learnt and the guitar resumed its internationality; it is now a “world” instrument in every respect, but it is from Europe that its 20th century gospel has spread.

The guitar, like the keyboard and the harp, is both a melodic and a harmonic instrument, which permits it to “borrow” music written for other media, and to present it with a fresh face. Most of Domenico Scarlatti’s 555+ sonatas for the harpsichord (another plucked string instrument) were written in Iberia, to test the mettle of his pupil Maria Barbara (a Portuguese princess who later became a Spanish queen). The didactic purpose of the Sonata K141 is clear, the rapidly reiterated notes: in some other sonatas Scarlatti marked such passages: “mutandi i detti” (alternate the fingers), which is exactly what a guitarist does here! Duets for two plucked-string fretted instruments have been a companionable activity for many centuries, a Canone a due liuti is among the works of Francisco Canova da Milano (1497-1543) and, such instruments being portable, they have been beloved of friendly amateurs - like Jane Pickering, who enjoyed making music with her friends and in whose lute-book (c1616) Le rossignol (the nightingale) is to be found. It is an ‘equal’ duet, in which the two players ‘converse’ on an equal footing. Duets in which both players share the same instrument (e.g. four hands on one piano) came later. John Dowland, the greatest lutenist of his time, may have been the first in the field with My Lord Chamberlaine his Galliard, “an invention for two to play upon one lute”, another ‘equal’ duet, in which the players balletically exchange roles - but not here. The music is sufficient in itself and the humour is in any case not visible in a recording!

Much keyboard music translates to two guitars, and when it is of a romantic character the marriage is a particularly happy one, as it is with the Song without Words Op19/1 of Mendelssohn. His eight cycles of Lieder ohne Worte are a recognition that an instrument, no less than a voice, can ‘sing’, as one guitar does here whilst the other provides the accompaniment. The sound of the guitar is rooted in the consciousness of most Spanish composers, so that two guitars can convincingly project the essence of the exciting Ritual Fire Dance from Falla’s ballet El amor bruno (Love the Magician), without need of the weight of sound of the original orchestral form.

Traditional songs and dances are not the special ‘property’ of any particular musical medium, but may happily be dressed in a wide variety of ways. The Irish folk song, The Lark in the Morning, with its bird-like trills, and the Jota, a Spanish dance whose simple ground opened the door to some flamboyant variations, provide excellent and contrasted examples of what may be added to such material through creative arrangements for two guitars.

When it comes to music that is directly written for the guitar, no-one does it more effectively than a composer who plays the instrument and knows its capabilities intimately. Fernando Sor, a Spaniard whose career carried him as far east as Russia and as far west as London, wrote 13 Fantasias of which the Fantasia Op.54 bis is the only one for guitar duo; the theme of the final movement was used by the Danish choreographer Auguste Bournonville in his ballet The Toreador (1840). Mauro Giuliani, an Italian virtuoso who moved to Vienna to enhance his career - and back again to Italy to escape the arm of the Viennese law, is often referred to as Sor’s “rival”; be that as it may, they were the two leading players of their time. Giuliani’s prolific compositional output (he had an avid Viennese salon public to satisfy) included many sets of variations; In the Variazioni concertanti the theme (probably Giuliani’s own) is preceded by an imposing introduction and followed by six contrasting variations in which he exploits the technical potential of two virtuoso players - who may originally have been Giuliani himself and his daughter Emilia.

Among the later guitarist/composers who have written for the duo medium are: Dimitris Fampas, whose romantic and ‘stateless’ Fantasie (dedicated to the Greek duo Evangelos and Liza) bears no trace of his Greek origins, Jan Marten Komter, the Managing Director of a Dutch chemical firm, amateur guitarist and flautist, the composer of the Milan Suite, with its overt references to the pavans of its eponym, the 16th-century Spanish vinuelista Luis Milan, and Robin Hill, whose Rondo for two guitars is in the classical mould (with earlier Iberian echoes of Padre Antonio Solar), and whose charming Canzone is one of a set of three studies for two guitars.

The remaining music on this disc is by composers that did not play the guitar but who nevertheless wrote generously for it. Jean Absil, a Belgian, composed for most musical media and his style ranged from the uncompromising to the accessible - as it is in his Three Pieces (1963) for guitar duo, from which the Musette comes; the pieces carry “baroque” titles but the music fulfils neither the promise nor the threat (according to your point of view!) of matching pastiche. Pierre Petit, erstwhile Director of Light Music for French Radio and TV, critic and composer, was one of many who were inspired to write for two guitars by the Duo Presti-Lagoya (which ended with the death of Ida Presti in 1967). The driving rhythms of the outer sections of his Toccata are interrupted by two slow, jazz-tinged episodes, and the work ends in a blaze of virtuosity. Mario Castelnuovo-Tedesco, a refugee from Mussolini’s Italy, emigrated to the U.S.A., finally settling in Beverly Hills. In his prodigious output of music he was unusually generous to the guitar; in this the original catalyst was Andrés Segovia, one of those who sponsored his entry into the U.S.A., but in the last year of his life he was equally captivated by Presti-Lagoya for whom he wrote (amongst other things) Les guitares bien-temperees, Op.199 (1962), prelude-and-fugue pairings in all major and minor keys. In this he followed the example of Bach’s Das Wohltemperierte Klavier but the pairings are differently ordered thus the Prelude and Fugue in F# minor are No. 13 in the series, not No. 14 as Bach had them. Neither is the musical language of Bach, it is Castelnuovo-Tedesco’s own.

John W. Duarte

Monday, February 15, 2016

'She Loves You' from 'Classic Beatles' by Robin Hill & Peter Wiltschinsky

Early last year we released an album, 'Classic Beatles' which you can read about here, 'Classic Beatles - Robin Hill & Peter Wiltschinsky'.

Today we thought it would be nice to hear one track in its entirety and accompanied by some photographs of the duo taken over the years.

'She Loves You' is a favourite of most Beatles fans and therefore required a sensitive approach to maintain the essence of the piece.
In this arrangement, by Robin, he uses many techniques to grab the listeners attention, such as the canon, counterpoint and some breath taking triplets at about a minute in.

You can hear more examples from the album on iTunes, Amazon and in fact many digital outlets.

Also, for those who may want to try playing these pieces, or many others, there is a large catalogue of sheet music on our website, under Hillhouse Editions Sheet Music.

So, here is 'She Loves You'.

Tuesday, October 06, 2015

Robin Hill - 'Guitar Dimensions' New Release!

We are pleased to announce the release of 'Guitar Dimensions' which features pieces for guitar and orchestra and solo guitar, from jazz through flamenco to classical.
Some pieces here are well known favourites, others have never previously been heard.

The album notes, found below, were written by Robin and provide further information about each piece.

Samples of 'Guitar Dimensions' can be heard on iTunes, Amazon and CD Baby. It is available as digital download and also, via our website, on CD.

Guitar Dimensions

‘Take Five’ was one of the first pieces of music to make a real impact on me. When I first heard it I was probably around 10 years of age. My father had taken me for a guitar lesson and two of the teachers were playing it as a duet. It immediately connected with me and I remember getting the sheet music. In my arrangement, for guitar solo, I make use of percussive effects with the right hand while the left hand keeps the riff going. The tune, of course, was made famous by the Dave Brubeck Quartet and was composed by alto player, Paul Desmond (1924-1977).

The ‘Celtic Concerto’ by myself is a reflection of my love for traditional celtic music.
The piece consists of six movements of which three can be heard here – ‘For Turlough’ inspired by, and dedicated to, the great Irish harpist and composer, Turlough O’Carolan (1670-1738) This starts with the solo guitar stating the main theme sparsely accompanied by pizzicato basses, cellos and percussion. The full orchestra then takes over accompanied by the guitar. The mood is optimistic and the atmosphere vibrant.
‘Return to Islay’ was inspired by a visit to this beautiful Hebridean island and reflects the simplicity, and the beauty, of its unspoilt character.
‘Rakes of Kildare’ is based on a traditional theme with the first statement by solo guitar. This is a lively jig with much merriment and good humour.

‘Canon’, by Johann Pachelbel (1653-1706) is his most well-known and loved composition. It was first recorded in 1940 by Arthur Fiedler and the Boston Symphony Orchestra. Although originally in D, I prefer the resonance of Eb in my arrangement, using a capo at the first fret.

‘Jota California’ is from another piece for guitar & orchestra in six movements by myself. The Spanish jota is always a lively affair with much hand clapping and invariably accompanied by castanets.

The ‘Concierto de Aranjuez’ by Joaquin Rodrigo (1901-1999), was composed in Paris in 1939 and premiered in Barcelona in 1940. The soloist, on that occasion was Regino Sainz de la Maza. The beautiful adagio is the essential core of the concerto and passes through many different moods until it reaches its logical conclusion. In her autobiography, Victoria, Rodrigo’s wife, eventually declared that the adagio was a response to their devastation at the miscarriage of her first pregnancy. I first performed the concerto in Liverpool with the Royal Liverpool Philharmonic Orchestra conducted by Carl Davis.

‘Fiesta de Xabia’ was composed in Spain on a family holiday. It represents the excitement, bravura and vibrancy of a Spanish fiesta.
Gabriel Fauré (1845-1924) composed his ‘Pavane’ Op.50 in 1887. It was originally for solo piano.
Fauré modestly described it as, ‘elegant but not otherwise important.’ The piece’s rhythm comes from the slow, processional Spanish court dance of the same name. It is highly melodic and beautifully haunting and evolves through a series of sophisticated harmonies to its inevitable conclusion. The piece enjoyed immediate popularity which it has retained to the present day.

Claude Bolling’s (b. 1930) ‘Hispanic Dance’ is the first movement of his ‘Concerto for Classic Guitar & Jazz Piano Trio’. It is basically a lively, sparkling dialogue between the guitar and piano with the double bass and drums supplying the underlying pulse. I gave the first UK performance of the piece in Liverpool in 1981. There are six more movements in the concerto all of which I have recorded with my quartet, Eklectica.

John Dowland (1563-1626) was the greatest lutenist of his day. A contemporary account of his playing said, ‘his touch upon the lute doth ravish all human sense.’ He was renowned for his introspective temperament and this is surely reflected in his ‘Melancholy Galliard’ . However ‘My Lady Hunsdon’s Puffe’ illustrates a completely different side to his character. The piece is ebullient and demonstrates that the composer possessed a wicked sense of humour. My Lady Hunsdon is pilloried for her lack of ‘puffe’ i.e. stamina……she was a keen dancer but rather unfit….in the second section of the piece she is heard to slow down and to become rather breathless…

Stanley Myers (1930-1993) was a British composer who also wrote the theme music for BBC’s ‘Question Time’. ‘Cavatina’ was originally used in the film, ‘The Walking Stick’
but later, and much more famously, it was used on the soundtrack, and as the main theme, for ‘The Deer Hunter’.

The ‘Gavotte en Rondeau’ by J.S. Bach (1685-1750) comes from his Fourth Lute Suite and was one of the first pieces I heard played by the great Andres Segovia (1983-1987). Although originally composed for the solo violin and/or the lute clavichord, it embodies for me the very quintessence of the classical guitar. In this recording I play the piece with a capo at the first fret and on a Manuel Reyes flamenco guitar circa 1963. The sonority of F major and the Reyes seem to work for me. The ‘Prelude from 1st. Cello Suite’, however, is played on my 1980 Miguel Rodriguez. This, for me, is such an optimistic piece and a justly famous work.

Isaac Albeniz (1860 – 1909) composed ‘Rumores de la Caleta’ for the solo piano.
It is, however, steeped in the flamenco music of Andalusia. I have arranged it with this very much in mind…the introduction featuring an extended improvised section leading into the original piece.

‘La Paloma’ by Sebastian Iradier was composed in 1863 following a visit to Cuba. Its ascent to worldwide popularity was rapid and it was performed by many artists from very
diverse genres. This arrangement is by Francisco Tarrega the composer of much original music for the guitar and also the arranger of many classic pieces by Chopin, Mozart, Beethoven, Bach and many more….

The ‘Fantasia X’ by Alonso Mudarra (1510 – 1580) is subtitled ‘Fantasia que contrhaza la harpa en la manera de Ludovico’. This is translated as ‘fantasia which imitates the harp in the manner of Ludovico’
Ludovico was a well-known virtuoso harpist of the era. This is an extraordinary piece. It contains, in addition to the obvious and highly effective, campanella, harp-like effects, syncopation, dissonance and a wry sense of humour. Mudarra states on the score: ‘from here to the end there are some wrong notes – but, if you play them well they will sound fine.’
The piece was originally composed for the vihuela, the Spanish equivalent of the lute and an instrument which was widely popular in Spain during the 1500s.

On this recording I use three different guitars. They are: a Miguel Rodriguez ‘churchdoor’ 1976, a Miguel Rodriguez 1980 and a Manuel Reyes flamenco 1963.

Robin Hill

Special thanks to:

Nick McCloud for his invaluable computer expertise.
Chris Hughes of Oscillate Studios for his great work mixing and mastering this recording.
Ray Kennan (of Bingley) for his constant enthusiasm.
Pip and David for their support and enthusiasm.
Pugwash the studio dog for her high fidelity.
My sons, Felix and Oliver, for enduring, and constantly living with, the recording process.
My wife , Anna, for her keen ears, cold nose, opinions and support.


Robin Hill was born in Yorkshire, England. His first instrument, at age seven, was the violin. At 10 he started to play the guitar, which he studied at music college and later participated in master classes with the eminent Venezuelan guitarist, Alirio Diaz.
In the early 1970s Robin met fellow guitarist, Peter Wiltschinsky and, together, in 1973, they formed the Hill/Wiltschinsky Guitar Duo, a highly successful partnership with a large archive of recordings (they recorded for Teldec Classics, Hyperion (debut album), ASV, RCA, Erato, Telstar, IMP Classics, Carlton Classics, Warner Bros. and many more. The duo have made numerous radio and television broadcasts and have toured extensively worldwide.
In 1997, Robin performed Joaquin Rodrigo's 'Concierto de Aranjuez' with the Royal Liverpool Philharmonic Orchestra (under Carl Davis) to an audience of three thousand. The same year Robin also gave the premiere of his own 'Concerto Primavera' with the same orchestra under the conductor, Ian Tracey. He has to date composed four other concertos - three for guitar and one for piano.
Robin gave the UK premiere of Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio', a work he has also recorded with his quartet, Eklectica.
Robin has collaborated with artists as diverse as Luciano Pavarotti, soprano Lesley Garrett, tenor Russell Watson, American soprano Denise Greaves (at the Royal Albert Hall with the BBC Philharmonic) to British rock bands Deep Purple and Jethro Tull and he has toured extensively with the American jazz/soul singer, Madeline Bell.
His book 'The Guitar Gymnasium' is used in conservatories throughout the world.
Robin's musical travels constantly take him all over the world.

'As always it was a great pleasure to observe Robin Hill's remarkable fluent technique. Everything looks easy when he plays it.' Colin Cooper – Classical Guitar Magazine UK

'Charismatic – a world class performance!' St Louis Dispatch - USA

'Daunting technique' Acoustic Guitar magazine - USA

'Wonderful for precision, touch and virtuosity, the result of a long interpretive process.' Il Giornale D'Italia - Italy

Monday, June 29, 2015

Robin Hill's Guitar Gymnasium Podcast No 2 - The Hill/Wiltschinsky Guitar Duo Part 1

After the more technical podcast No.1 on right hand technique which can be found here, Podcast No.2 looks at the history of the Hill/Wiltschinsky Guitar Duo with some musical examples and also some inside information on the murkier side of the music industry...

Robin's Book, 'The Guitar Gymnasium' can be found here.

During the podcast Robin mentions the duo's first album, which originally started with the Bach Invention No.8, there is a reissue of it here.

And here are the sleeve notes from the initial release:

Colin Cooper - Sleevenotes Hill/Wiltschinsky debut album on Hyperion Records

The brilliance of Ida Presti and Alexandre Lagoya set standards of duo guitar playing that have seldom been equalled. The form is a difficult one. Accuracy and precision are of course prime essentials, but the best duos are welded together by something more: a unity of purpose, a spirit of excitement and even adventure, an ability not only to play as one instrument but also to think as one musician.
Robin Hill and Peter Wiltschinsky, on the evidence of this recording, have that rare capacity. Their performances are alive, zestful, invigorating. It will make new friends for their exuberant playing, and new friends too for the guitar duo form, in which so much can be accomplished.
Some of the pieces are familiar; some not so familiar, though they deserve to be. All are hugely enjoyable. Hill and Wiltschinsky demonstrate their very wide range by adapting their style successfully to every new requirement, from the English lute tradtion of John Johnson to the 20th century French composer Pierre Petit. The Bach Invention that opens the recital could scarcely have been better chosen; light, airy, fast, it nourishes as it dazzles - perfection in 44 seconds (but length is never a prerequisite of great music). And has the Queen of Sheba ever made so exhilarating an arrival?
It gives me a lot of pleasure to be able to introduce this remarkable record - as much pleasure as I think it is going to give those who listen to it.

Podcast No.2:

Wednesday, June 24, 2015

Robin Hill's Guitar Gymnasium Podcast No 1 - Right Hand Technique

Today we celebrate the first podcast of Robin Hill's Guitar Gymnasium.
Robin will be making these audio recordings regularly and the subjects will vary widely to reflect his diverse interest and eclectic tastes.

The first one concerns the improvement of right hand technique on the classical guitar.
Robin talks about the 120 right hand exercises by Italian virtuoso guitarist and composer Mauro Giuliani (1781-1829) and gives his personal insight and methodology behind his own approach to this classic work.

Here is Podcast No.1: