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.

Biography.

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

Manuel de Falla and his House

The music of Manuel de Falla is known and loved throughout the world and has influenced the careers of many musicians.
Robin is no exception.
The Hill/Wiltschinsky Guitar Duo have recorded many of his pieces.
The Teldec CD 'Virtuoso Guitar' features 'El Amor Brujo', La Vida Breve' and 'El Sombreo de Tres Picos' (Three Cornered Hat) plus many other incredible pieces by Tarrega, Albeniz, Scarlatti etc, with some of the tracks performed by Wolfgang Lendle.

Plus I have mentioned Falla here on the blog a number of times, 'Alicia de Larrocha, the Ritual Fire Dance and a Maths Exam' and amusingly here on, 'Hill/Wiltschinsky - Pump It or Dump It' and 'Manuel de Falla's, 'Miller's Dance' and the Solar System'.
But Robin has also collaborated with other musicians and this post refers to one such performance, 'Review: Robin Hill and Izzy Cooper'.

So as you can see, Manuel de Falla has been a major part in Robin's life, so he was delighted to find himself in Falla's birthplace, Cadiz.
So you can imagine his excitement when he turned a corner and came across this bookshop:



Then, right next door he spotted a plaque:




And found himself standing in front of Manuel de Falla's home, (Upper floors):



Falla's birthplace overlooks a beautiful square and this is part of it:




Over the day I had many 'phone calls as Robin described each new discovery, even down to this glorious fountain, complete with turtles:




Cadiz is certainly a place I also wish to visit to pay my own respects to the wonderful composer, Manuel de Falla.

Lunchtime Chamber Concert - Robin Hill

If you are in Yorkshire then I know the perfect place for you to be on Wednesday 13th January at 12.30pm, Dewsbury Town Hall.
As regular readers are all too aware, it isn't often that Robin performs in the UK, so this is an excellent opportunity!

Although only an hour long, as is traditional for lunchtime recitals, it is certainly an eventful hour.
The programme features, amongst many others, Tarrega, Llobet, Dilermando Reis, Albeniz, J.S.Bach, Villa-Lobos and, of course, Hill.

Robin has performed at Dewsbury Town Hall a number of times before. Here is the post I wrote after the 2007 concert, 'Fasten Your Seat belts - Robin Hill Live in Dewsbury'.

As Kirklees Council have said in their advertising, "Robin's concerts at the Town Hall have been so popular that we felt we just had to have him back!"
For contact and venue details visit here.

Concert in Mugdock

Mugdock Country Park was the beautiful setting for a highly successful concert last night.
As predicted, the venue was sold out well in advance, which always bodes well for an appreciative audience.
Robin wasn't disappointed.

It was one of those nights when all factors seemed to fall into place.
Not just musically with a lovely programme including pieces by, Tarrega, Sor, Brouwer, Dyens, Albeniz and Sabicas. Not to mention some of Robin's own compositions, one being 'Return to Islay', which he composed after being inspired by the beautiful island of Islay on a previous Scottish tour.

This piece he dedicated to the memory of an old friend, and previous manager, Dave Barnes, who had first introduced Robin to Mugdock, and seen him perform there many times.
Some of his family and friends were present and a few tears were shed during this tranquil and evocative piece.

But equally as important as the music are the spoken introductions.
It's vital that any artist engages with their audience to create a wonderful and entertaining evening.
As I have said previously here on the blog, luckily for Robin, he is quite at ease with this aspect of his performance.
That isn't to say he doesn't invest a lot of time and energy researching the pieces he is playing, and deciding the points of interest which may just add that little bit more to the audiences enjoyment.
Alongside short discussions about the techniques employed in certain pieces this makes for interesting listening for guitarists and non-guitarists alike.

There was one difficult moment for Robin, right at the beginning of the concert, in the first piece, Malaguena.
Part way through his false thumb nail flew off.
Regular readers will know this happens from time to time.
On this occasion he was able to complete the piece and the offending nail was pointed out to him by some of the more observant members of the audience.
He retrieved it and re glued it into position all whilst introducing the next piece.

Many of the audience spoke to him after the concert which is always a nice way to receive feedback.
Then it was back to the hotel before a quick dash to a local pub to partake in a little post concert relaxation.

Now he is home but not for long.
Packing is underway for an exciting trip next week.
Although Robin does find it difficult spending such a lot of time away from home, even he is looking forward to this one.
It will be a first for him and you will just have to keep checking in to find out where he is and what he is doing......

Trieste and the Concert Programme

Crystal Serenity is in Trieste and Robin has had a very quick look around.
Most of the day has been spent in preparation for the concert tonight.
I have just been sent the programme, here it is, so we can all imagine ourselves there, enjoying the music!

Asturias - Isaac Albeniz
Un Dia de Noviembre - Leo Brouwer
Canarios - Gasper Sanz
Mozart Variations - Fernando Sor
Berceuse - Leo Brouwer
Danza del Altiplano - Leo Brouwer
Tango en Skai - Roland Dyens
Jota - Trad.Arr.Hill

The observant amongst you will realise that this programme is about 40 minutes long.
Robin has certainly been away a long time, and travelled to many places, for two 40 minute concerts!
As the day progresses, it is easy for musicians to start to feel the tension mounting, in anticipation of their performance.
Robin has an excellent way of preventing this.
Walking.
He loves walking and makes a brisk walk a part of every day.
Today he was de-stressing with 14 laps of Crystal Serenity. This took him just over an hour, and was a total of 4.172 miles, apparently.
He is now well and truly ready for the concert.

Robin Hill and 'Recuerdos de la Alhambra'

'Recuerdos de la Alhambra' is the 18th track on 'Virtuoso' and was composed by Francisco Tarrega (1852-1909).
Tarrega was born in Villarreal, Spain, but as a child had an accident, fell into an irrigation channel and permanently damaged his eyes.
His parents were concerned that he may loose his sight completely, so, they moved to Castellon, so that Francisco could take music lessons and would therefore be able to work as a musician if he did go blind.
Thankfully he didn't lose his sight but he did become a highly influential musician.

When Tarrega began his studies on the guitar, the instrument was at a low ebb throughout Europe, overshadowed by the louder and more resonant piano.
So Tarrega's father insisted he learn both instruments, in which he quickly became accomplished, in order to keep his options open.

It was in 1869 when Tarrega acquired an unusually loud and resonant guitar, made by Antonio Torres, the famous luthier, that Tarrega was able to prepare the way for the rebirth of the guitar in the 20th Century.

Tarrega transcribed many works for guitar by Spanish composers Albeniz and Granados, along with adapting movements from Beethoven's piano sonatas and many preludes of Chopin.
In all, Tarrega composed approximately 78 original works and 120 transcriptions for solo guitar, along with 21 transcriptions for two guitars. He also composed many varied and extremely taxing exercises which have tormented generations of guitarists ever since but which are extremely effective in the development of technique.

Recuerdos de la Alhambra was composed around the turn of the century. The theme was conceived on a visit to Grenada and the music is evocative of the famous Moorish palace there.
The piece is a tremelo study which requires great technical ability. To maintain a fluent and smooth tremelo, whilst executing clear accompanying notes, and also conveying the emotion of the piece, is not an easy task.

Robin is often asked if his hands ache after playing a piece like this. But years of right and left hand exercises have ensured he is quite able to maintain the tremelo for the required 3 minutes and 16 seconds on this recording. In fact, just like any athlete, the training is all important, so when it comes to the event itself, you really don't consider finger fatigue!

Announcing CD Baby's New Baby - Robin Hill's 'Virtuoso'

It is an exciting day here, and for all those people who have asked when they can download Robin's 'Virtuoso' CD, or buy a hard copy, well, now you can.

We are working in partnership with CD Baby, and as of today the entire CD, or selected tracks, can be purchased through our page, 'Robin Hill - Virtuoso'.

CD Baby are one of the largest distributors of music to Apple iTunes, Napster, and many other retailers, so over the next few weeks you will see the CD appearing in many different places.

'Virtuoso' includes many pieces from the standard classical guitar repertoire, alongside new compositions and even an Irish Jig!

Personal favourites, well, that's very difficult to say.
I do love 'Asturias' by Albeniz, and 'Eternal Dance', which is the first movement from a work for guitar and orchestra, composed by Robin himself, both are certainly at the top of my list.
But then 'Danza Brasilera', by Jorge Morel has long been a favourite of mine, as has 'Xodo da Baiana' by Dilermando Reis.

Robin's own compositions are always very popular in concert, but if you want Handel, Gaspar Sanz, Eric Satie, Agustin Barrios, Francisco Tarrega or Mauro Giuliani, then they are all there.

The best thing to do is go over to the site, have a look, and a listen, and of course, feel free to buy!

Over the coming months many more Cd's will become available and I shall update you as we go along.
But for now, enjoy...

From Romanian Gipsy music to a Latin American Wedding

I read a piece in The Daily Telegraph today, by Peter Culshaw, about the Romanian band, 'Taraf de Haidouks'. Their new album covers 'gipsy' style versions of classical music, with composers ranging from De Falla, Albeniz, Khachaturian and Bartok.
It sounds interesting, after learning the classical pieces, they then added their own, 'wildly energetic flavour'.

The thought of all those musicians playing together and performing exciting and lively music, reminded me of our wedding day.
What entertainment does a musician put on for their guests in the evening?
Surely not a dreaded disco...
The only solution was live music.

Luckily, we knew Dave Hassell, and talked him, and his band, 'Apitos', into a riotous evening of Latin American music.
It was fabulous and had everyone up on the dance floor.
All except Robin.
How could he possible be in the same room as a bunch of musicians, most of whom he knew, and not join in.
It wasn't the guitar that caught his attention, it was the congo drums, which he proceeded to play for, well, hours.
If you are familiar with the congo drums, you will know that there's a certain way to play them, to prevent sore hands.
Robin was too excited by the whole day, and engrossed in what he was doing, to be bothered with all that.
Consequently, the following morning, his newly placed wedding ring had to be removed with soap/lubricant, to prevent damage to those 'precious' fingers.
Also, his hands were too swollen to carry the suitcases, as we set off on our honeymoon.
I should have realised then that being the 'wife of a musician' was not going to be easy.....

Second Concert Success

I'm late posting tonight for two reasons.
Firstly, I have been visiting my brother after his horrific accident. I was delighted to see him looking so well despite the ordeal, and even walking about, well, hobbling really. It was all rather emotional, (for me), as you can't help thinking how lucky we are to still have him with us, and sadness for the family of the other man. Robin has been waiting anxiously for news and is very relieved to hear of Jonathan's progress. He'd guessed that he was doing well, as the reply to Robin's e mail about understanding the concept of bunjee jumping was, "The bridge doesn't usually follow you to the ground."
The second reason is that I have been waiting for news of the last guitar concert on board the QM2.
In true professional style, Robin put his personal concerns behind him, and gave an excellent performance.
He played:

Mozart Variations

Danza Brasilera - Morel

Misionera - Bustamente

Sons de Carilhoes - Pernambuco

Asturias - Albeniz

Jota - Trad.

Berceuse and Danza del Altiplano - Brouwer

Judging by the whistles at the end, I think the audience enjoyed it.
Robin also informed me that earlier in the day Richard Dreyfuss had been in the same theatre doing a questions and answers session.
As Robin's work has now finished I'm sure he will be going for some R&R.