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?"

Track 5: 'Arrival of the Queen of Sheba' - Handel and Cecilia Bartoli's 'Maria'

George Frideric Handel (1685-1759) began composing at the age of 9 having already shown considerable musical talent on the harpsichord and pipe organ.

He had a turbulent relationship with his father who insisted he studied law in 1702. However, after his father's death, Handel abandoned law for music.

He lived for some time in London, at 25 Brook Street, which is currently the 'Handel House Museum'.
I know that this is well worth a visit, as Robin went a few years ago, and thoroughly enjoyed a personal tour by a very knowledgeable guide. He came home inspired by his visit and full of numerous anecdotes. He was doubly delighted to find that Jimi Hendrix had lived in the house next door!

Handel was a composer that was, and is, held in high esteem by fellow composers.
In 1824 Beethoven is quoted as saying:

"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave."

Bach:

"Handel is the only person I would wish to see before I die, and the only person I would wish to be, were I not Bach."

Mozart:

"Handel understands effect better than any of us. When he chooses, he strikes like a thunder bolt."

Really you can let the music speak for itself.

Robin originally recorded his own arrangement of 'Arrival of the Queen of Sheba' with Peter Wiltschinsky on their album, 'Virtuoso Music for Two Guitars' on the Hyperion label.
I was interested to find that details of this album are held in the 'International Guitar Research Archive', in the Oviatt Library on the campus of California State University.

Today's version of the 'Arrival of the Queen of Sheba', which comes from the oratario, 'Solomon', is a solo guitar and orchestra arrangement. The piece is eminently suited to performance on the guitar with its rapid scales and arpeggios, the original dialogue between two oboes being replaced by guitar and recorder.

When you have finished downloading this piece, I strongly recommend you go over to iTunes and download Cecilia Bartoli's new album, 'Maria'.
It's fantastic, and you can read all about Cecilia's passion for the Spanish mezzo-soprano, Maria Malibran, here, in an article by Rupert Christiansen.

YouTube video - Robin Hill

Today I have decided to post Robin's YouTube video on the site. It gives me the opportunity to explain a little about each of the pieces, or rather extracts, that you hear, and for those interested in watching a guitarist at work, you can see what Robin is doing!
As the opening credits role, you can hear, 'Eternal Dance', this is the first movement of 'Concerto Latino' for guitar and orchestra. It features a driving 5/8 rhythm with some occasional 7/8. It begins with solo guitar and light timpani roll before the orchestra then state the theme. This piece was originally composed for Robin's quartet, 'Eklectica', but he then expanded it onto an orchestral canvas.

The first piece that you can watch as well as listen to, is 'Return to Islay'. This piece was inspired during a visit to this remote Hebridean island during a tour with Hill/Wiltschinsky.
Although Robin had never visited the island before he felt the place was strangely familiar, hence the title, 'Return to Islay'.

'Dolor de Muelas' has a freewheeling samba groove and contains much improvisation. As for the title, well, translated it means toothache...The piece was composed and recorded during a very violent bout of toothache. I wish I was so productive when I didn't feel well...

'Canarios' by Gasper Sanz dates from the mid 1600s and was originally for baroque guitar. As the title suggests this lively jig hails from the Canary Islands and many will know this theme from the last movement of Joaquin Rodrigo's, 'Fantasia Para Un Gentilhombre' - composed for Andres Segovia in 1953.

With the closing credits you can hear, 'Arrival of the Queen of Sheba', which comes from the oratario, 'Solomon' by George Frideric Handel. It is eminently suited to performance on the guitar with it's rapid scales and arpeggios, the original dialogue between two oboes being replaced by guitar and recorder.

Over on YouTube many of the comments have been about Robin's technique, so here's an opportunity to observe him.