'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
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.