'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
Tuesday, October 06, 2015
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.
‘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.
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