Reviews

'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

Wednesday, May 30, 2007

YouTube video - Robin Hill

Today I have decided to post Robin's YouTube video on the site. It gives me the opportunity to explain a little about each of the pieces, or rather extracts, that you hear, and for those interested in watching a guitarist at work, you can see what Robin is doing!
As the opening credits role, you can hear, 'Eternal Dance', this is the first movement of 'Concerto Latino' for guitar and orchestra. It features a driving 5/8 rhythm with some occasional 7/8. It begins with solo guitar and light timpani roll before the orchestra then state the theme. This piece was originally composed for Robin's quartet, 'Eklectica', but he then expanded it onto an orchestral canvas.

The first piece that you can watch as well as listen to, is 'Return to Islay'. This piece was inspired during a visit to this remote Hebridean island during a tour with Hill/Wiltschinsky.
Although Robin had never visited the island before he felt the place was strangely familiar, hence the title, 'Return to Islay'.

'Dolor de Muelas' has a freewheeling samba groove and contains much improvisation. As for the title, well, translated it means toothache...The piece was composed and recorded during a very violent bout of toothache. I wish I was so productive when I didn't feel well...

'Canarios' by Gasper Sanz dates from the mid 1600s and was originally for baroque guitar. As the title suggests this lively jig hails from the Canary Islands and many will know this theme from the last movement of Joaquin Rodrigo's, 'Fantasia Para Un Gentilhombre' - composed for Andres Segovia in 1953.

With the closing credits you can hear, 'Arrival of the Queen of Sheba', which comes from the oratario, 'Solomon' by George Frideric Handel. It is eminently suited to performance on the guitar with it's rapid scales and arpeggios, the original dialogue between two oboes being replaced by guitar and recorder.

Over on YouTube many of the comments have been about Robin's technique, so here's an opportunity to observe him.

3 comments:

Colin Lyne said...

Brilliant!

Colin Lyne said...

Brilliant!

Anna said...

Thanks Colin, glad you enjoyed it!