Classic Beatles - Robin Hill & Peter Wiltschinsky

The Hill/Wiltschinsky Guitar Duo have long been Beatles fans so it seemed natural that at some point they would record their own versions of these incredible songs on this Classic Beatles album.

Some of these pieces have been performed live, especially Eleanor Rigby which the duo frequently played as a much appreciated encore. When introducing it Robin often mentioned the following story:

A journalist once asked George Harrison what he thought of Andrés Segovia and his reply was, 'He's the Daddy of us all."

This got back to the Maestro, who said, "These pop stars might be nice boys but what they are doing is obscene and a disease...I do not like the way the girls go crazy.'

This always caused much mirth amongst the audience.

With these arrangements Hill/Wiltschinsky hope to redress the balance and show that the music of Lennon and McCartney is of such a high quality that it can stand many forms of interpretation.

The whole process was an intense one as they each took half of the 32 songs so that both did an equal amount of arranging. As in the relationship between Lennon and McCartney, the desire to create interesting and unique arrangements to these well known songs fuelled Robin and Peter to become more and more creative.

Sometimes the title alone suggested an arranging approach.
A good example of this is, 'I'll Be Back', which Robin punned as, 'I'll Be Bach', and arranged in a Baroque style.

Another, 'Hard Day's Night', which he thought of as, 'Hard Day's Knight', and arranged in an Elizabethan Lute style.

Who would have thought that, 'She Loves You', would work on two guitars successfully? This one was imagined as a real guitar duo and features many compositional devices such as canon, counterpoint etc.

The hope was always that people would pick up on the many more hidden references and inspiration throughout the album. Even the introductions to many of the pieces present a mystery as to which famous Beatles track will be heard.

You can find, Classic Beatles - Robin Hill & Peter Wiltschinsky here on iTunes or cdbaby and from many other digital outlets.

As always, many thanks to Jonathan Keenan for the cover photography.

Enjoy!

Danza - Robin Hill & Peter Wiltschinsky

I was absolutely delighted when 'Danza' by The Hill/Wiltschinsky Guitar duo, became available for us to re-release.
Initially recorded and distributed by ASV back in 1995, it had however never been digitally available, so now was our chance to rectify this.

I was also very pleased because this CD happens to be one that means a lot to me.
At the time of its release I was frequently travelling with the duo, as Robin and I were yet to have children... and therefore have seen and heard most of these tracks performed in concert venues around the world.

Before I add a contemporary review of 'Danza' from 'Classical Guitar Magazine' and the eloquent and detailed sleeve notes from the original release, written by Graham Wade, I wanted to add a little inside information.

For example, Tracks 20 is the fabulous, 'Corta Jaca' by Radames Gnattali, taken from the Retratos Suite, this is a stunning piece based on the samba rhythm.
At the time the music was unavailable but the duo were desperate to play it. So, determined as ever, Robin listened to the only recording available and took down the notes one at a time.
As you hear the piece you will realise just what an undertaking this was!
But, worth all the effort as they gave many fabulous performances along with this recording.

I also wanted to mention the, 'Suite Italiana' by Mario Gangi.
Gangi had heard a recording of the duo playing another of his pieces, 'Suite Spagnola' and was so pleased with their interpretation that he composed the 'Suite Italiana' especially for them.
One review at the time of an important concert by the Duo at Rome's Sistine Theatre, in homage to Andres Segovia, mentions that the journalist involved happened to be seated next to Maestro Gangi and that Gangi was, "hardly able to hide his satisfaction for the lovely performance."

'Espagne', composed by the brilliant French guitarist Ida Presti, is the world premiere recording of this piece. The duo, having heard a tape recording of an old radio performance by the Presti and Lagoya Duo, were keen to record and perform this neglected masterpiece. It provides a spectacular demonstration of guitar virtuosity and compositional inventiveness.

The final piece I would like to mention is Robin's own composition, 'Tre Esercizi' (dedicated to Mario Gangi in reciprocity for the Suite Italiana) comprises three movements, Tarantella in E minor (track 8), Canzone in F (track 9) and Giga in A minor (track 10).
The review below, from 'Classical Guitar' states that 'Canzone' contains, "one of those compulsive melodic lines we all wish we'd written ourselves," but it's the, Giga in A minor that I want to highlight.
The main reason being that when performing this in concert Peter Wiltschinsky always introduced this as being, "One of the most difficult pieces we play," which always induced a little laughter from the audience and a sense of trepidation as the music began.
I recall the tension I felt as I played every note in my head alongside the duo, willing them to get through the difficult passages!
They always did.

You can find 'Danza' on iTunes, Amazon, CD Baby and many other digital outlets.

Below are the original review and sleeve notes.



DANZA - REVIEW - 'CLASSICAL GUITAR MAGAZINE'

A new release from the Hill-Wiltschinsky Duo is always a cause for celebration, and DANZA is no exception. From the opening bars of the Giuliani to the triumphant conclusion of Gnattali's brilliant Corta Jaca, this world class team remain on their very best form. Even the modest lute duets are despatched with a sense of style and grandeur which belies their relatively humble stature.
It is, however, the premiere recording of Presti's Espagne which makes this release such a major event. A momentous discovery by any standards, it will remain forever a mystery why this seven minute Fallaesque fantasia was never taken into the studio by its creator and has languished in obscurity since her death in 1967. Rich in texture and strong in thematic material, it is surely fitting that this neglected masterpiece has finally been adopted by one of the present generation's finest pair. Needless to say, the performance leaves nothing to the imagination - Espagne is typical of the colourful and energetic repertoire in which the Hill-Wiltschinsky Duo always excel.
Elsewhere, the situation remains equally impressive. Robin Hill's recently published Tre Esercizi are marvellously sophisticated miniatures, the central Canzone containing one of those compulsive melodic lines we all wish we'd written ourselves. More introspective is Peter Wiltschinsky's gently seductive Nocturne - a strategically placed moment of contemplation before the boisterous jota-based Danza.
All these delights together with the old favourites from Gangi and Vivaldi make this a CD of which no collection should be deprived.

By Paul Fowles


SLEEVE NOTES BY GRAHAM WADE:


MAURO GIULIANI (1781-1828)

TRE POLONESI CONCERTANTI, Op.137

Giuliani was one of the most celebrated guitarists of the early nineteenth century and his achievement in the realm of composition for the instrument ranks with that of Fernando Sor. Giuliani was a prolific composer and wrote a wide variety of works for guitar including concertos, sets of variations, studies, songs, exercises, chamber music, as well as some pieces for duo. A significant part of his career was spent in Vienna where he was well acquainted with Beethoven, Moscheles, Hummel and other leading musicians. In Italy he knew both Paganini and Rossini and may have performed concerts in their company.
The polonaise appeared in the Renaissance under the title of 'polacca' or 'polnischer tanz'. In the seventeenth century the French term 'polonaise' was used for pieces of Polish style or origin and over some decades this evolved into a professional dance faster than a sarabande but slower than a minuet. As an expressive musical form the polonaise was transformed for ever by Chopin whose genius enriched and elevated the concept in eleven spectacular works for pianoforte between 1817 and 1830.
The three polonaises for two guitars Op.137 were published seven years after Giuliani's death by Ricordi of Milan. The Italian composer's approach to the polonaise is concise and energetic, each of the three allegretto pieces having a contrasting Trio section. Rather than the extended polonaise-fantaisie concept of Chopin, Giuliani offers an integrated group of short polonaises, exploring the rhythmic and lyrical implications of this dance through the medium of the guitar duo.

FOUR ELIZABETHAN LUTE DUETS

One special aspect of music during the reign of Elizabeth I was the variety of ensemble music. The lute duet was especially popular and John Johnson was one of the first to compose for two lutes in an integrated way, both parts being of equal importance in melodic and harmonic material. Johnson became court lutenist to Queen Elizabeth, and was one of the earliest of the great lute composers of the 'golden age'.
The pavan (also known as pavane, pavana, paduana, and pavin) was the slowest, most stately dance of the Renaissance. It was customary after 1550 to pair the dignified pavan with the more lively galliard, a dance of Italian origin, in fast triple time, involving the dancer in energetic leaping steps. In The Flat Pavan, 'flat' indicates not that the music is out of tune but hat it is in a minor key.
The Fancy or Fantasy, was a form which displayed a composer's contrapuntal skills. Thomas Morley said that, 'in this may more art be shown than in any other music because the composer is tied to nothing but that he may add, diminish, and alter at his pleasure'.
Finally A Merry Mood is a moment of exuberance, a very different mood from the melancholy seriousness often associated with the English lutenists.

ROBIN HILL

TRE ESERCIZI

These 'Three Exercises', dedicated to Mario Gangi, evoke the moods and colours of Italian music through the eyes and ears of an English composer.
Tarantella in E minor pays homage to the lively dance from southern Italy where the port of Taranto has given its name to a spider found in the surrounding countryside, the tarantula. The bite of this spider was believed for centuries to be poisonous, causing an ailment known as Tarantism, an illness which could only be dispelled by the antidote of a lively dance, the tarantella.
The Canzone, originally a poem of the troubadour era, later became the title for a musical setting of a poem or an instrumental piece with a distinct melody.
Finally Giga concludes the triptych with a dance, the Jig, believed to have originated in the British Isles before becoming popular throughout Europe.

PETER WILTSCHINSKY

TWO PIECES

These two pieces are dedicated to the memory of the great Paraguayan guitarist and composer, Agustin Barrios Mangore. The first, Nocturne (written 1993), conjures up the shades of night with a reflective and lyrical atmosphere. It is in the key of G minor with a contrasting middle section in G major.
Danza (Jota), in the key of A major, is a virtuosic movement with its energetic variations based on the jota dance of the regions of Aragon and Navarre in northern Spain. The jota has been called the 'father of Spanish dances' and its origins may stretch into antiquity. It is in triple time, and the dance itself is characterised by swift leaps into the air demanding great physical strength and facility.

ANTONIO VIVALDI (1678-1741)

PRELUDIO & CORRENTE

Vivaldi was a much neglected composer until the twentieth century was well advanced when considerable research and catalogue of his works, along with a gradual recording of most of his output, established him as one of the greatest of all Baroque composers. He composed 46 operas (of which 21 are extant), 344 solo concertos, 81 concertos for two or more solo instruments, 61 sinfonias, 93 sonatas and trios, as well as many motets, liturgical works, oratorios, etc.
Preludio & Corrente were arranged for two guitars by Len Williams in the mid 1950s. The two contrasting pieces soon became very popular among guitarists and have remained so ever since. The movements are taken from Sonata in D minor, Op.1 No 8, (RV64, P1/8, M. 389) for two violins and cello (or harpsichord).

MARIO GANGI (1918-2010)

SUITE ITALIANA

Mario Gangi, Professor of guitar at the Rome Conservatoire, is known internationally as a prolific editor and arranger of music for guitar. Suite Italiana was written especially for the Hill-Wiltschinsky Duo in 1988. The Saltarello is a very lively dance in triple time, deriving its name from the Italian word 'saltare', to jump, and according to a note by the composer, inspired by an anonymous saltarello of Rome. The other movements are Melodia, evoking the warmth of a Mediterranean song from the area of Abruzzi, while Tarantella makes reference to a theme from the opera La festa di Piedigrotta (composed 1852) by the Neapolitan, Luigi Ricci (1805-1859), who wrote some 30 operas.

IDA PRESTI (1924-1967)

ESPAGNE

Ida Presti was a remarkable child prodigy of the guitar, who gave her first public recital at the age of eight. In 1955 she formed a guitar duo with her husband, Alexandre Lagoya, and their work together founded new traditions of excellence in this kind of ensemble which continue to inspire later generations of players. Presti was also an accomplished composer, though her works are not widely known.
Espagne has never been recorded previously and its inclusion here offer new insights into her remarkable creativity.

RADAMES GNATTALI (1906-1988)

TWO PIECES

Radames Gnattali was one of the great figures of Brazilian music in this century, composing both popular and classical music, and teaching many of the leading musicians of his country including Jobim, Bonfa, Gilberto, etc. His suite Retratos (Portraits), from which these two pieces were taken, was composed in 1957. The Schottisch is a kind of round dance or slow polka while Corta Jaca is based on the rhythms of the samba.

By Graham Wade

'The Scale' from The Guitar Gymnasium - Robin Hill

Some time ago I wrote a post on 'The Arpeggio' and promised to follow up with one about scales.

So here it is!

Scales are a vital part of any practice session and should be treated with respect.

As Andres Segovia once said,

'The practice of scales enables one to solve a greater number of technical problems in a shorter time than the study of any other exercise.'

Below are the first two pages of Chapter 2 of The Guitar Gymnasium.

The entire chapter consists of 16 pages of explanations and guidance, the occasional inspiring quote, 13 original exercises and a few old favourites.

The original exercises have been designed by Robin to achieve many things.
Some are excellent warm-up and stamina building exercises, others concentrate on avoiding awkward string crossings by examining technique.

You can click on the image to enlarge if required.







Throughout the chapter Robin reiterates that the printed fingering in any book is not sacred. Usually there are a number of alternatives and one shouldn't be afraid to experiment.

He finishes the chapter with the demanding scale workout by Nicolo Paganini, 'Moto Perpetuo', which he has transposed from C major to A major and fingered to facilitate fluency and velocity.

As Robin says at the end of the chapter....'Good Luck'

'Performance and Practice' from 'The Guitar Gymnasium'

For many years Robin carried around a notebook, and whenever he came across a quote that he found inspiring and/or thought-provoking he wrote it down.  

Eventually, he wrote, 'The Guitar Gymnasium - A Mental and Physical Workout, Designed to Develop Flawless Technique,' (Mel Bay) and incorporated many of these quotes. 

Whilst the book is aimed at guitarists, there is a whole chapter dedicated to Performance and Practice. This section covers the many psychological factors inherent in the performance of music, but could equally apply to artists of all areas. 

The following is an extract from. 'The Guitar Gymnasium'. 

Performance and Practice A Collection of Thoughts 

 I firmly believe that attaining the balance between self-confidence and self-doubt is one of the artist's most important challenges: 

  'It constantly remains a source of disappointment to me that my drawings are not yet what I want them to be, the difficulties are indeed numerous and great, and cannot be overcome at once. To make progress is a kind of miner's work; it doesn't advance as quickly as one would like, and others also expect, but as one stands before such a task, the basic necessities are patience and faithfulness. In fact, I do not think much about the difficulties, because if one thought about them too much one would get stunned or disturbed.' 

                                                                                                                 Vincent Van Gogh (letter to Theo) 

 If Vincent had not felt like this about his work it would have, indeed, been a surprise. This sense of striving and self-dissatisfaction provide the essential impetus to spur the artist to further and higher achievements. Eventually, as we all know, he did get the balance wrong, he did become stunned and disturbed, and the world lost one of it's greatest artists. We all have encountered his antithesis where small talent is buoyed up by outrageous conceit. 

'The superior man is distressed by his want of ability'                                              Confucius 551-479 BC 

Confucius points out the paradox which propels high-achievers forward toward greater heights. '

The eternal problem for the performer is the settling of his own mental equilibrium, the striking of a happy mean between conceit, self-confidence and a sober valuation of his worth.' 

'Let us remember when we witness an artist on the platform radiating the most sublime self-assurance that in reality, he may be extremely modest and nervous, that he has donned a cloak of self-complacency to disguise his fright. For my part I am aware, when acknowledging applause, that I wear my warmest smile when I know that I have played badly; the smile helps me to walk off the stage and masks my fury. A bad performance haunts an artist for days and days and the memory of it is only erased by a good one. The most vigilant self-criticism is of course necessary. but the time comes when the artist must tell himself he is good or he will go under. It is a fight.' 

                                                                                                                    Gerald Moore (Am I too Loud?) 

 This quote, by the accompanist, Gerald Moore, perfectly encapsulates the dilemma. 

'Something like a nervous dread often takes possession of me while I am on stage in the presence of a large audience....one can only imagine how painful this sensation maybe....this sense of uncertainty has often inflicted upon me tortures only to be compared with the Inquisition, while the public listening to me imagines that I am perfectly calm.' 

                                                                                                                                           Anton Rubinstein 

'The guitar is very curious, I always say the guitar behaves unpredictably because of the influence of its feminine curves. (Sorry - I know this is politically incorrect - but it's what the man said!) When I go to the concert I am always nervous; then when I begin the concert I am ready to cancel it; but when I have finished the concert, I would like to begin again.' 

                                                                                                                                               Andres Segovia 

And you thought you had problems! 

I find these quotations both inspiring and comforting. It is surprising to many people to learn that great artists and performers were and are assailed by these feelings of dread and self-doubt. One of the factors which define their greatness is how they react to these doubts. If they are completely banished complacency flourishes and a powerful motivator is lost, but if this doubt gains the upper hand then confidence and further progress will be severely impeded. The trick is to get the balance right. This state of equilibrium is difficult to attain and difficult to maintain, requiring almost constant adjustment. The secret of success is how we react to failure. There is no doubt that a realistic belief in oneself provides a potent impetus to successful performance and vice versa. 

In my experience of concert giving over some twenty-five years, I have found that no matter how pleased (rarely) or disappointed (frequently) I am concerning the performance it is, objectively, never as good or as bad as perceived. As a member of an audience, I also note that what communicates, above all, is the spirit of the performance and not the fine detail. Obviously one has to aim for technical perfection, but for a performer to be convinced a whole concert was appalling because there were a few slips is clearly wrong. 

In fact, I remember a very memorable recital at the Wigmore Hall at which I was present and which I very much enjoyed, it was also repertoire with which I was largely familiar. I was convinced the performance was note-perfect as well as truly inspiring and musical. When, months later, I heard the concert broadcast 0n BBC Radio 3, I was amazed to hear a few obvious errors but found I had been correct about the event being truly musical and inspiring. This experience taught me a valuable lesson - If the inspiration and spirit of the music, and say 85-95% accuracy, are present, then that concert is a great success and an uplifting event for the audience (of whom maybe 1-3% will have noticed the errors) and, if the other necessary factors were present, this will not have marred their enjoyment of the concert as a whole. 

 

Abbey Road Studios - The Right Decision

After completing this post I heard via LondonJazz that EMI had released a statement and that Abbey Road was not for sale after all.
Whilst I'm delighted at this news I felt that some of the points I made in the original post could actually apply to the world of classical music in general.
So I decided to run it anyway, with a little of the ire removed....

There has been so much written about Abbey Road Studios in the last week, and rightly so.
The fear of the famous studios being sold off by EMI has caused outrage from supporters.
Beatles fans are in a frenzy at the potential loss of their sacred meeting point.
But Abbey Road is so much more than The Beatles alone.
After opening in 1931 Sir Edward Elgar conducted the London Symphony Orchestra whilst recording his own works.
Many, many others have used the facilities including the British conductor Sir Malcolm Sargent, Yehudi Menuhin and Andres Segovia.
The studios are not only used for recording, but also for remastering and occasionally, as a rehearsal place for many orchestras (more of that in a minute...)

The argument that the digital revolution has allowed musicians to record from home doesn't stand up to close scrutiny.
Yes, many artists can, and do, record at home, but how many homes do you know that can accommodate the 90+ musicians that make up an orchestra?
And yes, you can use software programmes to simulate an orchestra. But whilst these are an excellent tool for the composer, and useful for generating interest, they can't replace the musicality and energy produced by real musicians.

Also, the independent sector need to consider the consequences of their disdain for record companies.
Classical musicians need record companies.
Anyone wanting to record a concerto requires an orchestra.
To record with that orchestra you need a large recording studio.
Both of these are expensive commodities and as we know for our own sorry situation last year, (London Symphony Orchestra at the ready, Abbey Road pencilled in, but the funding elusive) unless you are backed by a record company, funding is virtually impossible to get.
Most available funding won't be issued to an individual artist, so unless you can find private backing the situation is not good.

Whilst this digresses from the Abbey Road situation the two are connected.
Do we really want to find ourselves in the situation when the only orchestral recordings available are old ones?

Music is essential to every one's well being.
New compositions are essential to future generations.
Recording studios are essential to the whole process, and Abbey Road has the ability to draw in more musicians than practically any other studio around.

The argument that Abbey Road isn't busy enough also seems rather evasive.
Numerous film scores are recorded there every year and you often read, from twitter alone, the various orchestras that are frequenting the premises.

The men in suits behind this decision need to think very carefully.
Money is important but so is history and musical heritage....remember the Cavern Club demolished only to be rebuilt a few years' later..on the same street?

Maybe they need to look more closely at alternative options.
Instead of focusing purely on finances, they should use the power and inspirational features that Abbey Road has to offer to inject a new enthusiasm into an ailing world of classical music.
The best case scenario would be for Abbey Road to continue as a recording studio, maybe opening their doors to other functions as an alternative way to procure income.

Another option is the interest shown by the National Trust.
They could, potentially at least, keep the doors open as a museum.
Whilst this wouldn't be ideal, it would be better than losing the site completely.

Alternatively, there may be a private buyer.
In this case the world will be at their mercy.
They may decide to keep it as a studio, but they may also choose to alter it's function completely.
Heaven forbid that Abbey Road studios become apartments for a select few...

To return to Abbey Road being used as a rehearsal place for orchestras. Surely there is potential for more bookings this way.
I know from experience that Robin rehearsed there with the BBC Philharmonic in preparation for a, 'Proms in the Park' performance.
The sense of history was awe inspiring.
However, it didn't prevent Robin from breaking into Jimi Hendrix's 'Voodoo Child', complete with waa waa pedal. This caused mirth and encouragement form some sections of the orchestra and disapproving glances form others....

But this is the sort of incident that makes Abbey Road unique.
So many musicians have passed through their doors, each creating their own memories and contributing to its illustrious history.

Record companies should maybe consider the old Cree Indian saying, "Only when the last tree has died and the last river been polluted and the last fish caught will we realise we can't eat money."

The world should take note.
If Abbey Road goes, so will so much more.
What Abbey Road has achieved is irreplaceable.
If you feel strongly and wish your voice to be heard, now is the time to shout.
A good starting point would be to add your name to the 'Save Abbey Road Petition', here's the link.

And finally, to inspire you whilst you shout, and if you want to add an extra twist....

As I said at the start of this post, EMI have announced that they are not selling Abbey Road studios. I left these particular links in place as some of you may be interested in the comments and mood of the general public. Also, as a reminder to EMI of the strength of public opinion, in case they should change their mind.

John Williams, Andres Segovia and a Can of ....

Recently we heard that John Williams was to play at The Bridgewater Hall in Manchester.
He performs there regularly and we always try to go whenever possible.
It is always a great evening, and a delight to have the opportunity to see such an incredible player, so close to home.
However on this occasion we won't be able to attend as Robin will be away from home, giving his own recital.

But this generated a conversation about the rare chances one has to see such players, and how important it is to take those chances whenever possible.

We have both been very lucky in that we were able to see Andres Segovia perform on a number of occasions.

Generally thought of as the 'Daddy of all classical guitar players', it was always a wonderful experience.
Even in his final days as a performer, when he was helped onto the stage, he still had the ability to hold an audience rapt.

On one of the occasions that Robin saw Andres Segovia, he was lucky enough to be backstage after the event.
As he walked through the warren of corridors, that always seem to accompany the area behind the scenes, he heard the guitar being played.

He walked on, very aware that he was within feet of one of his idols.
As he passed the open door of Segovia's dressing room, Robin glanced in, only to see the maestro, guitar in hand, sipping from a can of 7Up fizzy drink.
Given that Segovia was in his 80's at this point, it seemed rather incongruous.

What I would give to have captured that image on film...

Track 13 - 'Arrival' - Mario Castelnuovo-Tedesco

'Prelude and Fugue in E major' is the final track on 'Arrival' and was written by the Italian composer Mario Castelnuovo-Tedesco (1895-1968).

Tedesco composed many important works for the guitar, mainly as a result of his friendship with Andres Segovia.
It was Segovia who introduced Tedesco to the Presti-Lagoya Duo who inspired him to compose a set of twenty-four preludes and fugues for two guitars, in the early 1960s.
In addition to his guitar composition, Tedesco composed in almost every conceivable form.

After his prudent flight from Italy in 1939, he lived in Beverly Hills, California, where he was employed by MGM studios, and worked on the scores of more than 200 films.
He became one of the most sought after composition teachers in Los Angeles, with pupils including John Williams, Henry Mancini and Andre Previn.

To read more on the life of Mario Castelnuovo-Tedesco, follow this link.

Robin Hill plays 'El Noy de la Mare' by Miguel Llobet

The classical guitarist and composer Miguel Llobet (1878-1938) started to learn the instrument at the age of 11, and later studied with one of the fathers of modern guitar technique, Francisco Tarrega.
From the 1900's Llobet was in constant demand for recitals and toured extensively in Europe and North and South America.

Whilst in Buenos Aires Llobet formed a guitar duo with Maria Luisa Anido and, for this ensemble, he arranged numerous classical and romantic works.
Llobet's solo transcriptions and arrangements, were a landmark in guitar writing, showing his great understanding of the guitar's capabilities.

He was well respected by other musicians and in fact Falla's tribute to Debussy, 'Homenaje', was composed for Llobet.

Llobet is considered by some to be the teacher of Segovia, however, this has proved quite controversial, and debate continues today.
But Segovia himself frequently mentions Llobet in his autobiography, referring to him as a friend, but also, describing sessions when Llobet taught Segovia, amongst others, pieces, phrase by phrase, as he hadn't yet comitted them to manuscript.
Segovia was still a young man at this stage and I feel sure he must have picked up many practical aspects of Llobet's technique as well as merely learning the notes.


By the end of his career, Llobet had produced more than 100 works for the guitar.
Today you can hear, 'El Noy de la Mare' (The Mother's child/Our lady's child), track 11, which is a traditional Catalan Christmas carol, arranged by Llobet.
This has long been a favourite of guitarists, and Segovia used to frequently perform it as an encore.
Robin has also been performing it for some time and it's beautiful melody never fails to move audiences.

Asturias - Isaac Albeniz (1860 - 1909)

'Asturias' is a very special piece of music to Robin, as it was one of the first pieces he heard played on the classical guitar, and, one of his main motivations to learn the instrument.
This occurred whilst listening to the radio, when about 14 years old, and John Peel played The Doors, 'Spanish Caravan'.
Peel then explained that the song starts with the theme from Asturias, and went on to play Segovia performing the piece, which was Robin's inspiration.

Isaac Albeniz was a Spanish pianist and composer who started as a child prodigy.
He gave his first performance at 4 and rumour has it that he was accepted into the Paris Conservatoire at the age of 7, but he broke a window with a ball he was playing with, so was denied admission.

It was Felipe Pedrell who inspired Albeniz to write Spanish music, such as, Suite Espanola, Op.47. of which Asturias (Leyenda) is the 5th movement. Despite originally being composed for piano, it is a very guitaristic piece, and was transcribed for guitar by Tarrega, along with many other pieces.
Albeniz is known to have preferred many of his pieces played on the guitar and Asturias is probably one if the most famous which now has an important position in the classical guitar repertoire.

This is one of my favourite versions of Asturias. The atmospheric build up to the triplets in the first section is incredible, and the dramatic punctuation by the powerful chords really heightens the tension before the calm of the more reflective middle section. The first section is then repeated with a beautiful coda section to complete the movement.

Canarios and Cunard's 'Queen Victoria'

Canarios is a lively and optimistic piece of music which, as the title suggests, hails from the Canary Islands.
Gaspar Sanz (1640-1710) was a dominant figure of Spanish baroque music, and Canarios is taken from Sanz's 'Suite Espagnole'.

Many people will recognise the theme from Joaquin Rodrigo's, 'Fantasia Para Una Gentilhombre', which was composed for Andres Segovia in 1953.

Canarios is such a happy piece that Robin frequently performs it as an encore, which is always very popular.
You can hear Robin playing it here, track 10.

There was an interesting article in the paper today, for anyone of a nautical persuasion, 'Cunard adds 'Queen Victoria' to its fleet', by Richard Grey.
Judging by the pictures and the descriptions on Cunard's site, the Queen Victoria is certainly luxurious.
The Royal Court Theatre looks incredible, with three levels to create a grand auditorium, including private boxes.
The theatre seats over 800, and in early January Robin will be performing a couple of concerts on board.
Still, one of the 352,000 bottles of champagne that are expected to be drunk next year, should help to calm any post concert nerves....

Robin Hill's Sunday Morning iPod Shuffle

What a beautiful morning it was here today.
As soon as we opened the curtains the sun streamed in and revealed a perfect Autumn day.
Robin's first words were:

"Season of mists and mellow fruitfulness'
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;"

He was of course quoting John Keats, 'Ode to Autumn', if you want to read the whole thing, it's here.

As I've said before, Sunday morning is a time to relax in our house.
We usually put the iPod on shuffle and see what happens.

Here's today's offering:

1) Santana
'No One to Depend On' from Santana lll (1971)

2) John McLaughlin
'The Way of the Pilgrim' with the Mahavishnu Orchestra.

3) Daniel Barenboim
Prelude from, 'The Well Tempered Clavier' by J.S.Bach

4) Spiderpig Theme Song
From 'The Simpsons Movie'. (caused much delight from sons numbers one and two....)

5) Joni Mitchell
'The Boho Dance' from 'The Hissing of Summer Lawn' (1975)

6) Andres Segovia
John Dowland - Song and Galliard

7) John McLaughlin (again!)
'Face to Face' from 'Natural Elements' (1977) Shakti

8) Julian Bream
Julian Bream and Peter Peers, 'What then is love', an Elizabethan song.

9) Pepe Romero
Pepe Romero with the 'Academy of St.Martin in the Field', Boccherini Guitar Quintet No.6 in G Major.

10) Jascha Heifetz
Tchaikovsky: Violin Concero: Canzonetta in D Major.

Just when we thought we had better get on with our day, the next item called up on the iPod was, 'Robin Hill's Eklectica: Claude Bolling's Concerto for Classic Guitar and Jazz Piano Trio, 3rd movement, 'Invention'.
What a fantastic way to start the day.

'See' the Sound Waves and Improve Your Scales

Why is it that students of any musical instrument seem to dislike the idea of practising scales?
They are often viewed as a chore, and something to 'get through', before more interesting practice can be undertaken.
But all students need to understand the benefits they will gain, by dedicating a section of their daily practice routine, to this essential task.

As Andres Segovia once said:

"The practice of scales enables one to solve a greater number of technical problems in a shorter time than the study of any other exercise."

So, on the classical guitar, and any other instrument, students really need to start viewing scales as their friend rather than their foe.

I thought it may help if you could visualize a scale:



From this example, you can see how uniform the sound waves are, equally spaced, and each note separate and distinct.

Now, if you look at the next wave form you'll immediately see the difference:




This looks very different because there is an awful lot going on!
It is the wave form for a rasgueado.
The waves are larger due to the increased volume, but, you can also see that so many notes are being recorded in the same fraction of a second, that it's hard to distinguish each individual one.

Robin is an advocate of 'silent practice', and, 'hearing' the notes in one's head a split second before playing them.
Now, you can keep these sound wave images in your mind and try to 'imagine' the regular and even form that your scales should take.
Good Luck!

The Theme Was....

I won't keep you waiting any longer, the piece I posted yesterday, with a few extra notes added, was the last page of Bach's 'Prelude from the 4th Lute Suite'.

We had a lot of people who appeared to be studying it, but no one identified the piece, so, I can keep the prize!
That's the beauty of being in charge - you get to make the rules.

Guitar Widow did however make a good point.
You're never too young to start learning.
This is true and many exceptional players learn from a very early age. It isn't always the case though. Some come to their chosen instrument mid to late teens and still reach excellent standards.

We've always made instruments available for our children to pick up and play with. In fact a ukelele was purchased soon after the birth of son number one and he frequently sat in his cot playing with it.
The result is that both children look, and feel, very at ease holding a guitar. It's completely natural to them.
I should point out that it was made very clear to them that Daddy's guitars were STRICTLY out of bounds....

The downside for children of professional musicians, is that they see and hear every day, the amount of practice and commitment required to reach a high standard.

For young children this can seem very daunting and I feel they can have a fear that they are expected to practice the same amount, and produce the same results, in a short space of time.
Obviously this isn't the case, and we have tried to reassure them, that a little practice every day is a good starting point.

Musicians generally mature and improve with age.
I doubt you'll ever hear a musician say they are taking early retirement. It takes years of experience to truly master any instrument.
I remember seeing Segovia play when he was well into his 90's.
So I'd better prepare myself for many more years of travel!

Meanwhile the children continue to play with ukelele/guitar/piano/drums and eventually they may settle on one they wish to pursue.
But do you give them formal lessons?
I feel that learning how to read music is as important as learning French/Spanish/German - whatever. It's a skill that will never be wasted and may well bring great pleasure at some stage of life.
So, yes, I think they should learn the basics.
But I would never force a child to take up an instrument.
It has to come from within but maybe a little gentle persuasion is required to get them started...

Hill/Wiltschinsky Guitar Duo Play Mario Gangi

Back in July I showed you a review the duo received after a concert in the Sistine Theatre, Rome, to pay homage to the legendary guitarist Andres Segovia.
Towards the end of the article it mentions the duo playing, 'La Tarantella' from the 'Suite Italiana', which was composed especially for Hill/Wiltschinsky by Mario Gangi.
The reporter also mentioned that Gangi was seated next to him and was "hardly able to hide his satisfaction for the lovely performance."

Today I've decided to let you hear it for yourself.
This is the final movement, 'La Tarantella' from the 'Suite Italiana' by Mario Gangi, performed by the Hill/Wiltschinsky Guitar Duo.

Whilst I repair a problem you can hear the piece from the player in the sidebar.

A Passage To India

It's really quite rewarding when something that you wrote only a few days ago finds itself in an unexpected place.
On the 19th July I did a blog 'Hill/Wiltschinsky Guitar Duo Pay Homage To Andres Segovia'.

Today I was alerted to a 'special report' on india4u.com.

To read more click here.

Hill/Wiltschinsky Guitar Duo Pay Homage To Andres Segovia

Back in 1990 the Hill/Wiltschinsky Guitar Duo were chosen to perform a concert at the Sistine Theatre in Rome.
The event was to pay homage to the legendary guitarist Andres Segovia, who had given his last concert in Italy in the very same theatre, five years previously.
As you can imagine, this was a huge honour for the duo, and one they took very seriously.
Here's a translation of the review from the Italian newspaper 'Il Giornale D'Italia:
(click images to enlarge)



And, for my Italian readers, here is the original:



I'm glad I found them!