Pearl of Strings

As all guitarists know the type of string used can make a huge difference to a performance.
It is therefore always a delight to come across a product which really makes a difference.
However, not so much of a delight when the newly released strings are currently unavailable and you have a tour pending.

This is the situation we found ourselves in recently.
Robin was in Australia having just completed a trip, and he asked me to order 6 new sets of, Cantiga New Cristal 510 CR strings, urgently.
With only 5 days at home there was little room for delay.

However, after trying all our usual outlets, the new Cantiga strings were proving difficult to obtain. The problem was that they are very new. Just being launched and, as yet, not readily available.

As these new strings really worked better than any others on his instruments he was reluctant to use anything else. In fact the analogy he used was, 'It would be like driving a Polo when you have been used to a Porsche....'

But help was at hand.
Savarez heard of our plight and immediately sent 6 sets for the forthcoming trip.



Robin was delighted, and whilst he was still away I asked him to write down his thoughts on guitar strings and why these were so important. This is what he sent:

Pearl of Strings

I am always experimenting with different guitar strings and all have
different characteristics and qualities (and defects in some cases). They also have the ability to substantially colour and change the voice of an instrument.

My two main classical guitars are made by the great Miguel Rodriguez of Cordoba, a 1980 cedar top and a 1976 'Churchdoor' cedar top. Both instruments are outstanding. I also have a 1963 flamenco by Manuel Reyes.

In my early playing days at college and with the Hill/Wiltschinsky Duo I
used Savarez Pink Card strings......these can be heard on our debut recording, 'Arrival' on iTunes. Over the years I have tried just about every available string by numerous different manufacturers.

Whenever a new string appears on the market I am eager to try it. Thus it
was with the new Cantiga strings by Savarez.

They are a revelation, possessing an unequalled resonance, sustain,
intonation and longevity and a pleasing lack of abrasiveness which is kind to the nails.
In short I consider these strings to be a quantum leap in the evolution of
the classical guitar string.
Nothing else currently available compares.

Robin Hill – 2011

I was equally delighted with the rather nice pen they also sent:



And if you are wondering what happens to all these strings once the concert has been performed, well, you may be interested in this old post, 'The Many and Varied Uses of Savarez Guitar Strings'.

BBC Composers of the Year

The BBC are doing an excellent job, on both Radio and TV, promoting 'Composers of the Year'.
This weekend BBC Radio 3 are celebrating the 200th anniversary of Mendelssohn's birth with many hours of fabulous music. For more details you can visit here.

However, they also have a specific site dedicated to the 'Composers of the Year', Purcell, Handel, Haydn and Mendelssohn, with lots of information and audio extracts.

They even have a snazzy little button to make life easy for you!



As if that weren't enough, Conductor, 'Charles Hazlewood', is presenting, 'The Birth of British Music' on BBC 2 tonight at 8pm, commencing with 'Purcell:The Londoner'.

So, if you can't get to Robin's concert tonight, there are plenty of other inspiring and uplifting events going on, both on Radio and Television.

If you require even more Mendelssohn, then there is always, Hill/Wiltschinsky Guitar Duo performing 'Song Without Words Op62.No1' on their 'Arrival' CD, Track 8, found here, iTunes, and many other digital outlets.

So have a good weekend!

The 'Concierto de Aranjuez', an ancient vinyl & advice on nail care

For a solo performer there is always something particularly exciting about being on stage with an orchestra.
The powerful sound of this mighty instrument, especially when sitting inside it, is incredible, and to be surrounded by so many people with the common interest of making music is a delight.

But not without its worries.
For the soloist a lot is at stake.
They shoulder the responsibility of the major part of the performance.
That's why so many months, and in fact years, go into the preparation. Robin was actually hard at work on this piece the day after this performance and had, as is often the case, learnt much from the previous day's experience.

Robin has performed Rodrigo's, 'Concierto de Aranjuez' a number of times before.
The most prominent being with the Liverpool Philharmonic in front of an audience of 3500 people.

But Saturday's concert with the Fylde Sinfonia, conducted by Peter Buckley, was equally important as was reflected by the full house and enthusiastic audience.

Already a comment, and question, have been left on Robin's site, in the guestbook. For anyone with an interest in guitarists and their nails you may like to read Robin's response!

But being a soloist is also a lonely pursuit.
Here's Robin trying out the acoustics in the venue earlier in the day:




Looking slightly preoccupied here:






The advantage Robin had was his guitar. After much deliberation he decided to use his 1980 Rodriguez. This is such a powerful instrument that only minimal amplification was needed, as you can see in this picture:





Between rehearsal and performance Robin was able to admire some of the other instruments:




Then of course you can always abandon your valuable guitar and leave it balanced precariously on a chair....




The concert itself went very well.
Audience, orchestra and soloist all enjoyed the experience and after the event Robin had the opportunity to speak to many people.
He was somewhat surprised to find himself talking to an ex-pupil, from 1981, who was brandishing a vinyl copy of, 'Virtuoso Music for Two Guitars' on Hyperion label, by Hill/Wiltschinsky!
We have recently re-released this album, plus a few bonus tracks, as 'Arrival'. You can read about it here, and listen to/buy on CD Baby, iTunes and many other digital outlets.

The Stories Behind the Music - Robin Hill on Reverbnation

Many, but not all, of the pieces featured in the new player, found in the sidebar, have been discussed here before on this blog.
But I thought it might be nice for new readers and followers to access the background information to these pieces, and have the opportunity to listen whilst they learn about some of the history of Robin and his music.

So to make life easy for you I have put all the links together in this post today.
So here goes.

Track 1: Eternal Dance.

Eternal Dance has been discussed many times here as it is a powerful piece of music. To learn more about the concerto version, as found on 'Virtuoso', visit. 'Arrival on iTunes and Eternal Dance - Robin Hill'.

For the quartet version, found on, 'Eklectica', then try this page, 'Robin Hill and Eklectica Play 'Eternal Dance'.

Track 2: Hispanic Dance.

One of the posts relating to 'Hispanic Dance' gives details of the composer, Claude Bolling, and more information about the four members of 'Eklectica', alongside details of the seven movements featured in the concerto, of which Hispanic Dance is the first. 'Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.

Track 3: Bach Invention No 8.

Bach invention was first mentioned, very briefly, here, and in a bit more detail with this post, 'Robin Hill and Peter Wiltschinsky 'Arrival'.
I must say, that the Bach, along with track 8 on Arrival, Felix Mendelssohn's 'Song Without Words No1 Op62', are two of my duo favourites.

Track 4: Fiesta de Xabia.

I should point out that no bulls were hurt during the inspiration for this piece. To understand how Fiesta de Xabia was conceived then read, 'Fiesta de Xabia' by Robin Hill - Guitar'.
As yet, this piece is not available to buy, but one of the advantages of reading a blog such as this one is that you get little taster of things to come!

Track 5: Tarantella - Suite Italiana.

Suite Italiana was composed especially for the Hill/Wiltschinsky Guitar Duo, which you can read about here.
This honour came about after Mario Gangi heard the duo performing one of his pieces, 'Suite Spagnola', which you can read about on the post, 'Track 4 - 'Arrival' - Mario Gangi'.

Track 6: Wheatfield Under Troubled Skies.

This is an orchestral composition by Robin and you may be surprised to hear there isn't a guitar in it!
It's a beautiful piece of music and there are more details on the post, 'World Premiere - 'Wheatfield under Troubled Skies' - Robin Hill'.

Track 7: Palace of the King.

Now for something completely different, and one that really does highlight the unusual twists and turns that a career in music can take.
This is true Rock 'n' Roll with some of the world's best. Read this, 'Deep Purple Haze Days'.

Track 8: Wizard of Waukesha.

This is one of Robin's bands, Hooper, and yes, the man in the picture with very long hair, and playing a Les Paul guitar, is Robin....take a look here.

Track 9: Fast Forward.

This song has been around for many years, and is another example of Robin on electric guitar, playing one of his own compositions. To find out more about Robin's band, 'Hooper', (which, incidentally, includes two BBC Philharmonic Orchestra players!) read, 'Robin Hill and Travis Bean...Rewind to Fast Forward.'

Track 10: Caprice No 7 - Legnani.

Another example of a track not yet available to buy, but our gift to you. Learn more about Legnani here.

Finally,

Track 11: Celebration.

'Celebration' is a song performed by another band Robin has been involved in. They made an incredible sound and had a phenomenal brass section. Check them out at, 'Force Ten To Be Reckoned With'.

So there we are.
A little bit of history attached to all the tracks currently in the player.
I can, and will, be adding new pieces from time to time, so be sure to keep checking!
Just follow the link and then 'click' on the desired track in the player.

Time, Travel and Twitter.

Recently we have been looking at the various tracks on 'Arrival', and neglecting the day to day life of this particular musician.
Well, as always, there has been plenty going on.
Robin has been practicing for many hours, every day, as you would expect.
But, if you've been following the 'tweets' you will know he has also been preparing new pieces, composing, thinking of new CDs etc.
All of these activities are an essential part of the process when an active musician.
Also, you'll be pleased to hear, that Robin has been enjoying life at home.
Just having time with the family brings a great deal of pleasure.

But he's more than ready to perform for an audience once again, which is a good thing, as today he has two separate private functions, one in Yorkshire and the other in Cheshire.
Logistically it is possible.
Whether he'll be home between the two I'll have to wait and see.
Robin is also playing tomorrow evening, and then flying off on Sunday morning.
Which leaves me with the challenge of preparing all his concert clothes for packing whilst he's still wearing them...

I am constantly looking for new and interesting ideas to add to the blog and make your read more enjoyable.
Twitter, which I added not too long ago, and have already mentioned, is an ideal way of updating with little snippets of information.
But it seems it can also help in more serious situations, read this CNN report, 'Student 'Twitters' his way out of Egyptian Jail'.

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.

Tracks 11 & 12 - 'Arrival' - Traditional Irish

'Arrival' has 'arrived' on iTunes and soon will be available on Napster, Tradebit, PayPlay, Pocketgroup and MusicIsHere to name but a few.

Tracks 11 and 12 are both arrangements of Traditional Irish pieces.
They have particularly beautiful melodies, which may be familiar, and which work effectively on two guitars.
Both these arrangements are by Peter Wiltschinsky.

Traditional Irish music initially became popular in the 17th century with composers such as Turlough Carolan, Thomas Moore and John Field.
Carolan (1670-1738) was a harp player, and a prolific writer, composing more than 200 compositions in a baroque,Vivaldian style.

These composers, of the early Romantic era, have been credited with the creation of the nocturne form, later to be developed by Frederic Chopin.

Irish music continues to be hugely popular and influences many other genres.

Tracks 9 & 10 - 'Arrival' - Lennon/McCartney & Carulli

Lennon and McCartney's song 'Eleanor Rigby', track 9 on 'Arrival', requires little introduction.
However you may be interested to know that in Woolton Parish Church's churchyard, the place where Lennon and McCartney first met, there is a tombstone bearing the name 'Eleanor Rigby'.........
This arrangement was made by Peter Wiltschinsky and has always been very popular in concert, often being played as an encore.

Track 10 is by Fernando Carulli, 'Nocturne de Salon Op.227:I.Allegro II.Largo III.Allegretto'.
Fernando Carulli, also sometimes referred to as Ferdinando Carulli, was born in Naples in 1770, and was to become one of the most popular classical guitar composers and players of his time.
Carulli initially started playing the cello, but at the age of 20 discovered the guitar, and fell in love with the instrument.
At that time there were no guitar teachers in his native Naples, so he taught himself, developing his own style of playing, which later enabled him to write an excellent tutor book.

By the age of 38 he moved to Paris, where he lived for the rest of his life, composing more than 400 works.
To learn more about Carulli you can visit here.

Track 8 - 'Arrival' - Felix Mendelssohn

I must be a romantic at heart as this is one of my favourite pieces.
Felix Mendelssohn (1809-1847) composed 8 cycles of 'Lieder ohne Worte' (Songs Without Words) from 1830 onwards.
This one was written in 1843 and features a lyrical, predominant quaver rhythm on top of a rhythm triplet accompaniment, which creates an effective cross-rhythm.

Mendelssohn's 'Songs Without Words' remain his most famous solo piano compositions, and this piece was arranged for two guitars by Miguel Llobet.

Mendelssohn was born into a wealthy and notable Jewish family, and was the grandson of the philosopher Moses Mendelssohn.
Felix's sister, Fanny, was also an accomplished pianist and composer but was not encouraged to pursue music as a career as it was not considered a proper occupation for a woman at this time. She did however have six of her early songs published under Felix's name.
To read about the life of Felix Mendelssohn you can read more here, or, here.

I always enjoy the emotional charge inherent in this music and hope that other listeners are equally entranced. So enjoy Felix Mendelssohn's 'Song Without Words No.1,Op.62'.

Track 7 - 'Arrival' - J.S.Bach

Track 7 on 'Arrival' is 'Invention No.8,(BWV 779)' by J.S.Bach.

I think the review by Colin Cooper says it all:

"Light, airy, fast, it nourishes as it dazzles - perfection in 45 seconds."

Track 6 - 'Arrival' - Pierre Petit

Track 6 on 'Arrival' is 'Tarantelle' by Pierre Petit.
Every time I hear this piece I can't help laughing, but you will have to read on, to the end, to find out why.

'Tarantelle' along with 'Toccatta' are, in Robin's opinion, two of the greatest duo pieces written, and are certainly amongst the most difficult to play.

Pierre Petit studied at the Paris Conservatoire, and in the 1950's was made director of light music for the French radio and T.V. company ORTF. He was also a music critic for 'Parisien Libere' and 'Le Figaro'.
His compositions include the 'Suite for Four Cellos' (1945), 'Zadig' (a ballet, 1948), 'Concerto for Piano and Orchestra' (1956), and a 'Concerto for two Guitars and Orchestra' (1965), which was composed for the famous husband and wife duo, Ida Presti and Alexandre Lagoya.
In 1946 Petit won the much coveted composers' competition, the 'Prix de Rome'.

The 'Tarantelle' is a piece of music best avoided if you suffer from arachnophobia.
It has been suggested that the music depicts the frenzied dance of an unfortunate individual after they have been bitten by a deadly tarantula...
It is however also a joyful and ebullient piece of music, which in the first slow section quotes, 'Clair de Lune' by Claude Debussy.
As the piece progresses, you can certainly imagine a gyrating person as they suffer the consequences of the tarantula's venom.

What you can't hear, unless you purchase the track of course, is the end of the 'Tarantelle'.
This is where my amusement arises.

The Hill/Wiltschinsky Guitar Duo have frequently performed the 'Tarantelle', and usually, it is programmed at the end of the first half, as it has such a grand finale.
Naturally one wants to leave their audience keen to hear more.

The Hill/Wiltschinsky Guitar Duo are certainly not known for ever playing safe in live concerts.
Instead they constantly push themselves, and each other, to perform the most exciting version they can, whilst obviously maintaining accuracy.
A difficult balance to achieve.
Fuelled by concert adrenaline, it makes for a heady mix.
The 'Tarantelle' is therefore the perfect piece to stimulate the duo's virtuosity.

As the piece progresses it becomes more and more exciting, and on one occasion, Robin got rather over enthusiastic.
He knew the performance was going well and the audience were already stunned.

However, on the finale of the piece Robin executes a rapid drum roll on the side of his guitar, using both hands.
Robin was pleased with the fantastic percussive effect until he glanced down at his beautiful Rubio guitar and spotted a massive split in the Brazilian rosewood along the guitar's entire length.
During the interval he was able to inspect the damage, but there wasn't really a lot that could be done.
The entire second half of the concert was performed with a little more caution.
The Rubio was later repaired and restored to it's former glory.

So whilst Robin has been called, "the Jimi Hendrix of the classical guitar," I think we should add Pete Townshend to the list....
Go and have a listen, from the extract that you hear, it starts to become apparent, just how frenzied 'Tarantelle' becomes.

Track 5 - 'Arrival' - Gabriel Faure

Track 5 on 'Arrival' is the beautiful 'Romances Sans Paroles op17, No3, Andante Moderato' by Gabriel Faure.

Gabriel Faure (1845-1924) was a French composer, teacher, pianist and organist, who developed a personal style that had considerable influence on many early twentieth century composers.

He was the youngest of six children and as a child often played the harmonium in the chapel of his school.
It was here that an elderly blind lady overheard him playing and informed his father of his gift for music.

It was from this point that Faure later attended the 'Ecole Niedermeyer' where he remained for 11 years, studying mainly church music.
It was only after Niedermeyer's death, that Saint-Saens was appointed, and Faure studied piano and was introduced to contemporary music, not on the school syllabus, such as Schumann, Liszt and Wagner.

After leaving school Faure was appointed as an organist, gave lessons and started composing. Apart from a period when he enlisted during the Franco-Prussion war, the majority of his time was spent within various posts as an organist.

After marrying in 1883, to support his wife and two sons, he gave piano and harmony lessons, and to supplement his income sold his compositions to publishers, with full copyright, for 50 francs.

It wasn't until the 1890's that he began to realise some of his ambitions and he was over 50 before he started to become well-known.
In one teaching position around 1897, his pupils included Ravel and Enescu, but it was in 1905, when he became director of the Paris Conservatoire, that his fame spread. This was partially due to undertaking some controversial reforms, but resulted in his works being performed at important concerts and venues.

Although he continued to compose throughout this period it wasn't until retiring in 1920 that Faure could at last devote all his time to composition. But despite his failing health, his interest in young musicians continued, and he helped many, including Arthur Honegger.

Faure's harmonic and melodic innovations influenced the teaching of harmony for later generations.

Together with the Romances for voice and piano, the three Romances Sans Paroles are his earliest surviving works.
The lyrical qualities of his music make it an ideal vehicle for the more reflective and poetic aspects of the guitars.
As you can hear with 'Romances sans Paroles op17 No3 Andante Moderato'.

As a footnote, Faure is frequently referred to here at Hillhouse, but in a very different context.
Whenever Robin goes out on a shopping trip, he announces his intention by saying, "I'm going on a Gabriel", strangely, I always seem to know what he means.

Track 4 - 'Arrival' - Mario Gangi

Track 4 on 'Arrival' was composed by the Italian Mario Gangi.

'Suite Spagnola' was composed in 1948 and is in three movements.
1. Andalusa
11. Fandango
111. Sevillana

This is a fantastic piece of music which I have heard performed by Hill/Wiltschinsky many times.
The opening, with it's precision playing by both performers, is perfectly synchronised and always impresses.
As the piece develops it's flamenco roots become ever more apparent and it becomes increasingly difficult to keep one's feet still!
In this recording Robin made slight adjustments to the original score to ensure both players had equally important roles, he also duplicated certain passages in octaves to strengthen the impact.

After hearing this recording of Hill/Wiltschinsky playing 'Suite Spagnola' Mario Gangi was inspired to compose one of his best known works for guitar duo, with Hill/Wiltschinsky as the dedicatees, the 'Suite Italiana'. You can read more about that here.

However, only the first part of the first movement of 'Suite Spagnola' can be heard, unless of course you buy it!
A few years ago I was lucky enough to meet Maestro Gangi, whilst in Bari, Italy, with the Hill/Wiltschinsky Duo.
We spent a very pleasant evening together and he took great delight in teaching me how to eat spaghetti like an Italian!
So have a listen to 'Suite Spagnola' and enjoy.

Track 3 - 'Arrival' - Jean Absil

The third track on 'Arrival' is 'Musette' by Jean Absil.

A musette is a dance-like piece of music, pastoral in nature, whose style is suggestive of the musette, or bag-pipe.
In this context though, the musette isn't actually a bag-pipe (you may, or, may not be pleased to hear) but is referring to the pedal tone in the bass line, which continues throughout the outer sections of the piece. The haunting and meandering melody intones above this fairly static and hypnotic accompaniment.

Jean Absil (1893-1974) was a Belgian composer who studied the organ, piano and harmony.
Although Absil did initially perform on the organ, he decided to concentrate on composition, winning the Agniez Prize in 1921 for his First Symphony, and in 1922, his cantata 'La guerre' took the second Belgiun Prix de Rome.

For many years Absil taught in various conservatories, but it was not until 1938 that his piano concerto brought him international recognition.
Absil was initially greatly influenced by Wagner and Strauss and it was only in his post 1934 works that his more individual style emerged.
After 1938 he attempted to make his work more accessible whilst still retaining the folk-like themes.

The Musette is a slightly enigmatic piece which provides an oasis of calm when heard in its original context between two highly energetic movements and between the more vibrant pieces on this recording....

Track 2 - 'Arrival' and John Johnson

The second track on 'Arrival' is 'La Vecchia Pavane and Galliard', by John Johnson (1540-1595).

A Pavane is a Court dance of the 16th and early 17th century, which is usually sedate, and often an introduction for a processional dance.
The pavane consists of two single steps and one double step forward, followed by two single steps and one double step backwards. It's played in duple time, 2 or 4 beats to the bar.

The Galliard is much livelier, a triple-metre dance, usually with regular phrase structures of 8, 12, or 16 bars, with a step-pattern of five movements taken to six minims, which is similar to that of the salterello, except that the steps are higher and more vigorously executed.

As you listen to these pieces, you can easily imagine the ladies and gentlemen of the Elizabethan Court enjoying the music and joining in, starting with the slow Pavane and moving on to the more energetic Galliard.
'La Vecchia' simply means old.

At this time it was common for lutenists to undertake the position of an apprentice within a noble house, often from a very early age.
This was an essential process for any musician of 'low birth' to make contacts with the wealthy aristocracy, which would then allow them access to the Royal Courts.
The modern day equivalent would presumably be blogs, MySpace, Twitter, and the like, the modern way of networking.

Whilst records are difficult to trace, it is thought that Johnson would have undertaken an apprentice position in a noble house, likely to be that of the Earl of Leicester.
His skill as a lutenist didn't go unnoticed though, and by 1577 he had entered the Royal services of Her Majesty's Musicians for the three lutes, along with Mathias Mason and Thomas Cardell. The number rising to six or seven lutenists as the popularity of the instrument increased.

John Johnson is regarded as the founder of the school of English lute music of the 'Golden Age', which culminated in the works of John Dowland.
Johnson's playing must have been exceptional, and it is believed that he was Queen Elizabeth I favourite lutenist, but his importance also lies within the huge body of works available today.
His manuscripts have been found all over Europe even though it's thought that Johnson never left England, a feat only matched, and exceeded, by John Dowland himself.

The musical tradition continued with his son, Robert Johnson (1582-1633), also a lutenist, but he was connected with Elizabethan Acting Troupes, working with playwrights such as William Shakespeare, Beaumont and Fletcher.

So, 'La Vecchia Pavane and Galliard' is steeped in the lute tradition, although Johnson developed the lute duet to an unprecedented level of technical and musical excellence. With complete equality of parts being one of the striking features of Johnson's work.
Johnson was certainly more prolific than any of his English contemporaries, and 'La Vecchia Pavane and Galliard' together make a fine example of the conversational style of the Elizabethan lute duet.

The guitar repertoire is greatly enriched by the assimilation of the lute's vast body of works, in this recording the guitars are played with capos at the third fret to create a more lute-like sonority.

Track 1 - 'Arrival' - Arrival of the Queen of Sheba - G.F.Handel

Track one on 'Arrival' is appropriately, 'Arrival of the Queen of Sheba' by George Frideric Handel (1685-1759).

Handel was a German-born Baroque composer famous for his operas, oratorios and concerti grossi.
He was born in Halle in 1685, the same year as Johann Sebastian Bach and Domenico Scarlatti.

Handel showed considerable musical talent, on both harpsichord and pipe organ, from an early age, and had already begun composing by the age of 9.
Although born in Germany he spent most of his adult life living in England and made his home permanently in London in 1712.
The house that he rented, on Brook Street, has since become a museum, 'Handel House', and is well worth a visit.
The house, coincidentally, is next door to one that Jimi Hendrix occupied for some time, thus combining two of Robin's greatest musical influences within a few feet of each other!

It was during this period that many of Handel's greatest works were composed, Messiah, Water Music and Music for the Royal Fireworks to name just a few.
The Oratorio became the national musical speciality owing mainly to Handel's efforts.

The 'Arrival of the Queen of Sheba' comes from the oratorio 'Solomon', which was first performed in London in 1748.
Handel's scoring of this piece was originally for two oboes and strings, but the dialogue between the two oboes works effectively on two guitars, as does the remaining string writing.
This is one of Robin's first arrangements for two guitars.

For those interested in details, at the time of this recording both Robin and Peter Wiltschinsky were playing guitars made by the luthier 'David Rubio'.

For now though, go over and have a listen to the 'Arrival of the Queen of Sheba', and as one review said, "Has the Queen of Sheba ever made such an exhilarating arrival?"

Concert, Corruption, and Recording Company Chaos

Before I discuss the music on 'Arrival' I did promise to give you a little insight into its background.
This particular story does highlight the challenges that musicians sometimes have to face in order to get their music heard, and, occasionally, the murkier side of the classical music recording industry.
Really, this is a re-release as the recording dates from 1983, but, as it is no longer available, we felt that it was important to make use of the modern way of delivering music to the world, and release it on the digital market.

The story really starts before the recording was actually made, around 1982/3.
A man, whom shall always remain well and truly nameless, in fact I shall call him Mr.X, went to see Hill/Wiltschinsky play at the Hexagon in Reading, UK.
He was most enthusiastic after the concert and very keen to sign the duo up for a record label he was in the process of forming.

So keen was he, that he booked, and paid for, one of the best recording studios in Manchester, at that time, Pluto Studios.
Recording of the album took about a week, which is an incredible feat, especially when you consider that there was very little editing as this was such a cumbersome process then.

Mr.X also wanted to manage the duo and he sent a contract to be signed.
It was at this point that alarm bells started ringing.
It was a very poor deal, with issues too numerous to mention, although one was that the duo would have to pay travel expenses wherever Mr. X travelled worldwide...
It must be remembered that this was to be the duo's first recording, and they were very keen to have it released, but had to balance this against the fear of financial exploitation.

They decided the contract was unsound, and Robin arranged, and met Mr.X. for a showdown in a local hotel, and explained that he wasn't happy to sign the contract.
The irate reaction was, "I'm gonna sit on this goddam album and it will never see the light of day."

This was obviously not a good position to be in.
The duo needed this album releasing and were rightfully proud of it.
Also, it should be remembered that at this time it wasn't as easy as it is today to record and promote music. The backing of a record company was a great achievement.

Fortunately, Robin, whilst angry, frustrated, and shocked, managed to keep his cool.
He left the hotel and immediately drove to the recording studio, unsure whether the master tapes were still there, or, whether they had already been collected by Mr.X.
Luckily, they were still there, so Robin paid for them and removed them from the premises, all carried out whilst thinking that X could arrive at any moment, and cause a great deal of trouble.
He didn't and Robin made his escape with the precious master recording.
Mr.X did go to the studio the next day to collect the masters, and was utterly furious to find them already gone.
He did threaten legal action, which we later found out was quite ironic.
It was discovered that he had spent time in jail in the UK, and was being urgently sought by the Canadian police for fraud. True to their reputation they got their man, arrested him, returned him to Canada, and imposed another lengthy jail sentence.
We never heard from him again.

So, the duo found themselves in the position of having a finished recording, and no label to put it on.
It was taken to London and had very favourable responses from a number of companies, and it was decided to sign to 'Hyperion' for a 10 year period, and was eventually released in 35 countries, on both vinyl and cassette, as 'Virtuoso Music for Two Guitars'.

After a traumatic start this album proved to be a turning point for the duo, who went on to record many more times, with various, high profile, labels.
All the stresses that Robin went through to ensure this album wasn't destroyed were certainly worth it.
In fact, he was in Tower Records, New York City, in 1986, and it was the only guitar duo recording that they had, which was a very proud moment.

As this recording has now been unavailable for a few years, and had such an impact on the classical guitar world at the time, we felt it needed to be heard once more.
The change of title?
Well, after that sort of start in life, wouldn't you want a new beginning?

Robin Hill and Peter Wiltschinsky 'Arrival'

"Nothing is more beautiful than a guitar - save perhaps two."
Frederic Chopin

Here are the sleeve notes to the CD we have just released, 'Arrival'.
Written by the Editor of Classical Guitar Magazine, Colin Cooper:

"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 tradition of John Johnson to the 20th century composer, Pierre Petit. The Bach invention could scarcely be better chosen; light, airy, fast, it nourishes as it dazzles - perfection in 45 seconds. And has the Queen of Sheba ever made such an exhilarating arrival?

It gives me much pleasure to introduce this remarkable record - as much pleasure as I think it will give to those who listen to it."

Colin Cooper

What more can I say?
Follow this link, or click on the picture in the side bar, to have a listen.
Next week I shall tell you a little about each piece of music, and also, the strange, and at times rather intriguing, history of this particular recording.

Last Day at Sea and a New CD...

Apparently there were great celebrations yesterday as the QE2 left Fort Lauderdale, as it will be the last time she leaves the port, before retiring.
As yet, I don't have any further news or pictures, but I will add some if, and when, they arrive.
Today she is cruising the Atlantic, on her way to New York, and tonight is Robin's third, and final concert, before he makes the long journey home.
Whilst he prepares for that, I have been busy here.
I have just had news that the latest CD to be released, 'Arrival', will be ready in the next few days.
So there will be more on that, probably next week.

Today though, I have many things to do in preparation for this event, so I will direct you to Izzy Cooper's blog, where you can read all about her impressions of performing Rodrigo's Adagio with Robin the other night.
Enjoy!