The last few days on the Queen Victoria went very well. Two concerts performed, one more standing ovation and many lovely comments from both audience and staff.
But it wasn't all work.
One day was spent in Geiranger, one of the most breathtakingly beautiful places Robin has seen, with air that smelt like wine - apparently.
Then they moved onto Bergen, where, despite the pull of a visit to Edvard Grieg's House, Robin felt he had to resist and remain onboard as he had a performance that night.
But since his return there has been a lot going on.
Things are moving on with Robin's latest concerto, 'Eternal Dances', so final decisions are being made about every aspect of the score.
Those following me on Twitter have been witnessing this final editing process.
They will have also have seen that this isn't achieved in isolation.
I have frequently been called in to listen to, and look at, the entire orchestral score. Note by note.
I know, it's late in the day as discussions are already underway with various orchestras, but I suppose the composer has the right to make changes as and when he feels it appropriate or at least up to the point when the parts are sent out...
Whilst waiting for further news of 'Eternal Dances', you can read an old post, and review, about 'Concerto Primavera', another of Robin's compositions, here.
'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