Classical Guitars and Hampton Court

There's an article in the paper today, by Roger Highfield and Nic Fleming, about 'Palaces being damaged by concert noise'.
Many historic buildings have been used for years as a backdrop for fund-raising concerts.
But a study carried out at Hampton Court Palace has found that loud music has damaged windows and brickwork.
I do hope that Hill/Wiltschinsky didn't contribute to the increased decay.
Years ago they performed live for BBC Radio 4, at Hampton Court , in a programme hosted by Gloria Hunniford.
Here are a youthful looking duo relaxing with sandwiches after the concert!




It was a good week for them, as the programme was chosen for 'Pick of the Week', which they were delighted about.
The article does go on to say that it is the bass frequencies, usually greater in rock concerts than classical, which cause the most problems.
So there we have it, more classical music please, in these fabulous settings. Not only is it an inspirational night out for artist and audience alike, but, it's also better for the environment.

Crowd Control at the Proms...

As always I've been listening to a lot of BBC Radio 4.
Two items caught my attention.
Today on 'You and Yours' with Liz Barclay and John Waite, they were discussing a project to get young people interested in classical music.
I have mentioned this before. It's a scheme headed by the Bournemouth Symphony, along with many other orchestras and conductors, who want to provide free concerts for young people.
They recognise the importance of trying to involve children and young adults in the world of classical music.
They even took along a group from a local 6th form college to hear Beethoven at the Royal Albert Hall.

Prior to the concert the youths thoughts ranged from, 'classical music is too long', 'not cool' and 'boring'.
Obviously we have a lot to do in improving the image of classical music. But that's not all.
Why a generation that can spend hours glued to a playstation would find it 'too long' is beyond me. I feel some work is needed in the area of increasing the attention span of our youth. I realise that to play computer games there's a level of interaction taking place, so we need to get more children playing instruments, and therefore feeling involved.
However, post concert, the comments were more positive.
They seemed to have genuinely enjoyed it, felt that seeing the musicians at work was good, but some had felt intimidated by the silence of the audience.
Some also said that they would like to return and would bring a friend if that friend was already interested in classical music.
Clearly more work is needed in the promotion of the whole area.
Lets hope this project takes off.
I was also delighted to hear that Liz Barclay is a 'guitar' fan, and the Spanish guitar has the ability to bring her out in 'goose bumps'!

The other item I listened to was yesterday's 'PM' with Eddie Mair.
There was a very interesting discussion taking place between Norman Lebrecht and Nicholas Kenyon. This had been prompted by a spontaneous round of applause, between movements, on Wednesday evenings performance of Mahler's 9th Symphony at The Proms.

Now this is an area I have mentioned many times on the blog and debated at some length over on Sounds and Fury forum.
Whilst both Lebrecht and Kenyon made their points very succinctly I must say I fall down on the side of Nicholas Kenyon.
He actually made many of the same points that I have in the past. Whilst it shouldn't be encouraged, if applause occurs in the wrong places, well, just enjoy the fact that you've moved an audience and that they bothered to attend in the first place.
It's also possible for a soloist or conductor to 'help' the audience understand where and when they can applaud, by using their body language.
Given that the conductor Ilan Volkov wasn't put off by this occurrence, and that one of the things preventing a new generation from attending concerts is that they feel intimidated by the situation, then this is an area we need to address.

It's not just the audience though.
You have to keep your eye on the musicians.
Back in 1953 the cellist Ambrose Gauntlett smuggled a camera into the Queen's Coronation, kept it in his cello case and remotely took an unauthorized picture of the proceedings.
To read the full story by Luke Salkeld click here.

Robin Hill's 'Unofficial' Desert Island Discs

Today I decided that I would quiz Robin on the choices he would make for the long running BBC Radio 4 programme, 'Desert Island Discs'.

Each week a guest is invited to choose 8 pieces of music, a book, and a luxury item, which they are allowed to take with them to a desert island. The castaway is also issued with a copy of the Bible and the complete works of Shakespeare.
The whole concept of the programme is a wonderful one, and we frequently listen in. Whoever the guest may be, it is always interesting, and I guess that's why it has been running since 1942!
Currently the show is presented by Kirsty Young.

As I started questioning, Robin wasn't fooled, and within seconds he had worked out what I was up to, but I must say, he was very obliging!
So here are Robin's choices - in no particular order:

1)Bach's Brandenburg Concerto No.5 in D Major.
Performed by 'Akademie fur Alte Musik Berlin'.

Robin initially heard this piece performed by Jack Loussier, and the jazz version so intrigued him, that he was inspired to explore the original.
He loves the piece because it is like a hugely uplifting musical kaleidoscope , with intricate contrapuntal conversations between three soloists (violin, flute and harpsicord). The first movement culminates with a highly virtuosic cadenza for the harpsichord and a triumphant return of the main theme.

2) What is Hip?
This track is by 'Tower of Power', and has to be the ultimate 'funk' tune, superbly played by the tightest band in the universe.

3)Prokofiev's Peter and the Wolf.
Robin's favourite is actually 'Peter's theme' performed on strings.
As a small boy he avidly watched a T.V. programme called 'Zoo Time' with Desmond Morris.
Although he didn't realise it at the time, the theme music for this programme was from Prokofiev's 'Peter and the Wolf', and it just goes to show how we are profoundly affected by music from a very young age.

4) Armando's Rhumba.
This is by Chick Corea and the piece was dedicated to his father 'Armando'.
Robin has long been a fan of Chick Corea and has in fact made several arrangements of his pieces for various combinations of instruments.
We also have a couple of letters from Chick himself who is equally complimentary about Robin's music!

5)Rodrigo's Concerto Madrigal.
Joaquin Rodrigo composed many pieces for the guitar and this is one of Robin's favourites, particularly the movement, Giradilla (Presto).
The recording he most enjoys is that of Pepe and Angel Romero as it is the most incredible feat of virtuosity by two of the best players on the planet.
Hill/Wiltschinsky have performed this piece but sadly not recorded it.

6)Because.
Robin chose 'Because' from The Beatles 'Love' album as it is the version with the backing harmonies only. It's very poignant to hear distant birdsong from the trees outside Abbey Road studio, and shows incredible insight into the harmonies The Beatles were capable of, and how well they could sing them when not being deafened by screaming Beatlemaniacs.

7)The Boho Dance.
The Boho Dance is from Joni Mitchell's album 'The Hissing of Summer Lawns' which was released in 1975.
Robin is a huge fan of Joni Mitchell and this is just one of many of her works that he feels are masterpieces.

8)Handel's Rinaldo:Aria: Lascia ch'io Pianga.
Robin's all time favourite recording of this is by Cecilia Bartoli with 'The Academy of Ancient Music' conducted by Christopher Hogwood.
Robin heard her perform this at The Bridgewater Hall in Manchester and it's hard to imagine a finer interpretation.

All hapless castaways are also allowed a book and one luxury item.
The book Robin chose is by the American novelist John Cheever, and really, it could be any collection of his short stories.
They offer perfect insight into American life and life in general.
(and whoever it is who borrowed our copy could you please return it....!!)

Finally, the luxury item, and I don't think there will be any surprises here.
One of his Miguel Rodriguez guitars of course. Although he has been rather cheeky and asked for a huge supply of strings - I'm not sure if that will be allowed.

One final note.
Whilst these are definitely all favourites, if I had asked Robin on another day, we may have had a completely different list of pieces. But then that's the beauty of music.

From 'All Quite at Sea' to Sgt.Pepper and the Short Stories to Vincent Van Gogh

All is very quite out in the Atlantic. I've been unable to speak to Robin since he set sail yesterday, and as yet, haven't received any e-mails. This is unusual as it is high priority for him to establish some contact with home. I can only assume, they are having some technical difficulties on board the QM2, which will be resolved soon.
So, for today, it's just you and me!

After my blog about the re-creation of tracks from the 'Sgt.Pepper' album, there was a huge increase in traffic to the site. Not surprising really, but I was very pleased to find that many new visitors, stayed on to have a good look around. So, hello to you all, and do keep checking in.

Related to The Beatles blog, BBC Radio 4, are running a series all week. Five writers, all with Liverpool connections, have each chosen a track from Sgt.Pepper, and used it as the inspiration to write a short story.
Yesterday was, 'Being for the Benefit of Mr Kite', by Heidi Thomas.
Today, at 3.30, is 'With a Little Help from My Friends', by the fabulous Alexei Sayle, Wednesday will be 'Lucy in the Sky with Diamonds', by Linda Grant, Thursday, 'A Day in the Life', by Jimmy Mulville, and finally on Friday, 'Sgt Pepper's Lonely Heart Club Band', by Laurence Wilson.
Read more about it on the BBC 4 site, and follow the links to listen again for up to seven days.

I also discovered this YouTube video, via artsJournal, 'Did Van Gogh trace his self-portraits?'

From this post, a short time ago, you will realize we are big Van Gogh fans here.
Whatever the final verdict, as far as I'm concerned, the skill is in the painting, no matter how the outline got there.
It seems unlikely that photography was used, because as far as I was aware, only one photo of Vincent existed, and it's very frustratingly of the back of him, as he walks away. Is the photo in the video authentic? I'd love to hear if anyone knows differently.
The camera obscura may have been an option, but once again, that doesn't account for his skill with the paint.

Meanwhile, back home, I think I'll start looking into the possibility of carrier pigeons.

Sshh - It's a Secret....

Robin has gone back down to London today. He's there for an important meeting, and no, I can't tell you anything about it at this stage. In fact, I'm not sure when I'll be able to pass on this exciting news, so you'll just have to keep checking in. Nothing like a bit of intrigue to keep you all guessing, and no, I'm not open to bribes...
He decided to go down on the train and I think he quite enjoyed the experience of travelling without his guitar. It certainly makes life easier.
Robin seems to be making a habit of heading south at the moment. If you remember he was in London last week doing his bit to save the rainforest.
Here's the picture to prove it.




Meanwhile, I've been holding the fort at home, as always. I did remember to take a break and listen to 'Tales from the Stave', BBC Radio 4. This week Frances Fyfield discussed the creative process behind Benjamin Britten's opera 'Peter Grimes', with the musical experts Dr.John Evans and Dr.Paul Banks. It's such a delight to hear them thoroughly enjoying themselves as they pour over the score. I recommend it as some lovely lunchtime listening.

Home but not Free

You would think the days Robin is at home would be relaxed and carefree. Often they are, but these are busy times, so whenever he is here, there are plenty of things to fit in.
It's particularly stressful for me as I am still struggling with visa/passport issues, all of which have to be dealt with whilst I have him here with his passport...
It will now be a nail biting time to see if it is returned in time for his next trip.

To add to the craziness of the day son number one and two have been keeping me busy.
Number two needed to make an Easter hat for an event on Saturday. This has required a two stage approach. Phase one: making and painting the basic hat. Phase two: adding flowers, ladybirds and various little artistic touches, all involving yet more paint, some of which actually made it onto the hat.
Later this evening I'm off to cubs with son number one. It's my turn to make the drinks for 45 noisy and excited small boys, and to wash up afterwards. Robin can't be involved with either of these activities as neither paint or washing up liquid are good for the guitarists nails...
So, to help out, and allow me to get on with some work, Robin is having a break from his guitar practice and has taken son number two out for some male bonding.

I was also delighted to receive an e mail from Tom Alban, the producer of BBC Radio 4 'Tales from the Stave'. He was very happy to have found that he had been 'blogged' a couple of times here in the last few days. It's always nice to get feedback, both ways, and it's good to see that the BBC have their eye on what is going on out here in the blogosphere.

From Rachmaninov to The Mousetrap

I listened to the BBC Radio 4 programme I mentioned the other day, 'Tales from the Stave'. Francis Fyfield talked to conductor Marin Alsop and music critic Geoffrey Norris about Rachmaninov's Second Symphony finally being restored and now on loan to the British Library. The enthusiasm as they looked through the hand written score was infectious and it reminded me of the points I made in my blog the other day.
Future generations won't be able to see the work unfold, with alterations being made, as composers now often work through music software programmes. But, if you read my earlier blog, it does offer some suggestions as to how future historians will still be able to unravel the composer behind the music by looking in a slightly different way.
Meanwhile down in London, Robin is finishing his last day at ExCel, supporting Brazilian Springs in their quest to save the rainforest. The whole team have worked very hard and Robin has played his guitar for so long that I don't think he has any fingerprints left. Actually, he doesn't have any on his left hand anyway, they were worn away many years ago and only string shaped grooves remain.
As a reward for all their hard work they are off to St.Martin's Theatre tonight to see 'The Mousetrap', the longest-running murder mystery in the world.
Well, even Robin has to have a night off occasionally.

Rachmaninov's Second Symphony - Found

As I flicked through The Daily Telegraph this morning I came across an exciting article by Geoffrey Norris, -'Lost symphony in a Co-op bag'.
Rachmaninov's Second Symphony has been found, and since authenticated, in the effects of an elderly collector who has died.
It's a fascinating story which will be discussed on BBC Radio 4, March 20th at 1.30, 'Tales from the Stave'.
Norris points out that the First Symphony is still missing, so keep your eyes open when turning out your attic.
It made me think about future generations and how their searches for lost pieces may take a very different turn. With the advent of music software programmes such as 'Sibelius', many composers now use this convenient method to notate their music. However, this will deny those 'yet to be born' historians a valuable insight into the musical deliberations and the evolution of a composition. Handwritten scores (as with handwritten manuscripts of literary works) often provide an illumination of the compositional process. However, one will still be able to see a piece developing over time if the pages of manuscript are printed out, played through, and alterations made.
My fear is that most musicians are not organised (nor indeed are they generally interested) in filing away 'stages of composition' for posterity.
Their main focus is perfecting their music.
So I'd like to leave a few suggestions for son number one, two, and their descendants.
All those pieces of paper lying around randomly are important. Don't just throw them out. They are the vital link in a chain that will show a work in progress.
Do check behind any cupboard and even under the eaves. There will be more music there.
If you find what looks like a shopping list, do turn it over and check. The chances are it's part of the final movement of 'Primavera', or the middle section of 'Celtic Concerto'.
Don't forget that all those bags full of tapes and CDs tell a story. Many of them contain short clips, ideas, whole pieces, interviews, t.v. broadcasts etc. all of which could prove extremely useful in the future.
So whilst I'm not comparing Robin Hill with Rachmaninov, we do need to consider new methods of tracing living and deceased composers and their music.