Fantastic Mr Felix - Standing on Air by Robin Hill

Fantastic Mr Felix is the third track on the album, 'Standing on Air' and we have been delighted with the feedback.
I've received many emails, comments and messages, all saying that they simply can't get the tune out of their heads!

The inspiration behind the piece was our youngest son, Felix. It reflects his ebullient and good-natured character and his boundless energy.
Before I hear cries of favouritism, I'd like to remind readers that our eldest son had an entire concerto composed for him, 'Concerto Primavera', performed by members of the Liverpool Philharmonic, you can read the review and more about it here.

'Fantastic Mr Felix' is a highly coloured and energetic piece with a South American feel. This is partly due to the huge array of percussion instruments which include the guiro, cajon bongos, cuica, shakers etc. but also the Andean charango.
When Robin composed the piece he always wanted the distinctive sound of the charango to be a prominent feature, however, it was actually added towards the end of the recording process.
At the time Robin didn't own a charango, but luckily, he found one whilst on his frequent travels, in New York, promptly purchased it and after a few days familiarizing himself with the unusual tuning, he added it too the track.

There are two guitar cadenzas within the piece, the second of which, an extended run of descending semiquaver triplet slurs, seems never ending and sounds like Robin will run out of fingerboard before he finishes!
To inject a little humour the flexotone can be heard at the end of this perilous descent. The entire sequence was recorded in one take.

The lead guitar is a rapid and rhythmic series of question and answer phrases with some effective glissandi up to the top notes. These were all played as one part, not on two guitars as it may initially appear. Very rapid and accurate change in hand position is required.

At various points throughout the track a highly rhythmic, funky triangle can be heard. To prove that not all instruments have to be highly expensive, this triangle was actually taken from the children's toy box...

The cuica drum is an unusual instrument which adds a touch of exoticism with its jungle sounds. Robin's frequent travels to South America and his love of Brazilian music in particular, have surely influenced his choice of this instrument.

It's quite remarkable that every sound you hear on this track has been produced by Robin. His eclectic musical background has certainly served him well.
Whilst the guitar is heavily featured the final comment for the whole piece is left to the bongos, with a subtle and atmospheric sound achieved by guitarist's nails!

To listen to some of the track (it's the first one in the player at the top of the page), or to buy 'Standing on Air', you can visit Robin Hill's website, or one of the many digital download sites, ie, iTunes, Amazon, CD Baby.

A Brace of Concerti

The last few days on the Queen Victoria went very well. Two concerts performed, one more standing ovation and many lovely comments from both audience and staff.

But it wasn't all work.
One day was spent in Geiranger, one of the most breathtakingly beautiful places Robin has seen, with air that smelt like wine - apparently.
Then they moved onto Bergen, where, despite the pull of a visit to Edvard Grieg's House, Robin felt he had to resist and remain onboard as he had a performance that night.

But since his return there has been a lot going on.
Things are moving on with Robin's latest concerto, 'Eternal Dances', so final decisions are being made about every aspect of the score.

Those following me on Twitter have been witnessing this final editing process.
They will have also have seen that this isn't achieved in isolation.
I have frequently been called in to listen to, and look at, the entire orchestral score. Note by note.

I know, it's late in the day as discussions are already underway with various orchestras, but I suppose the composer has the right to make changes as and when he feels it appropriate or at least up to the point when the parts are sent out...

Whilst waiting for further news of 'Eternal Dances', you can read an old post, and review, about 'Concerto Primavera', another of Robin's compositions, here.

The iPod nano and the Rehydrated Alien...

I hope you have all had a lovely Christmas and are enjoying the lull before the New Year festivities get under way.
We have had a great time and enjoyed a relaxing break, spending time with the family, and playing with all the new toys that have accumulated around the house.
Son number one is now the proud owner of an iPod nano, and I must say that I have been delighted with his choice of music.

As you would expect he has added the soundtrack for 'Doctor Who' and 'The Simpsons Movie', but, there are also many fantastic tracks, that I'm proud to say he has chosen.
The artists are diverse, Aretha Franklin, The Beatles, Bob Dylan, Cecilia Bartoli, Genesis, Green day, Santana, Tower of Power, Van Morrison and John Rutter, to name a few.
But I happened to notice one piece that has found its way on to the iPod, much to son's amusement, John Cooper Clarke, 'Evidently Chickentown', which, whilst not particularly suitable for a boy of 10, (although it is the cut version) it is an incredible poetic accomplishment.

Today alone he has requested 'Walton: Crown Imperial', oh, and of course, not only his Dad's 'Virtuoso', but, also his 'Concerto Primavera', but then it was composed for him.

We have also been enjoying a very generous gift of a voucher for iTunes. So far, Flora Purim has made her way to our collection, and we are enjoying the sound immensely.

Whilst we listen to 'the beats' as son number one now refers to his music..., I can also report that son number two received a triangle, which he did request on his Christmas list, and is now practicing daily...for lengthy periods.....

But now, I have to rehydrate an alien that we are currently growing in a test tube, another Christmas gift....

The Halle Orchestra, Sarah Connolly and a Meeting with Mark Elder

I was lucky enough to be given a ticket to the Bridgewater Hall last night to see the Halle Orchestra perform a wonderful programme.

They started with Bedrich Smetana's (1824-1884) 'Polka and Overture' from The Bartered Bride.

This is probably one of Smetana's best known operas, full of humour, which doesn't reflect any of the tragic circumstances which occurred during his troubled life.
The high-spirited Polka, danced by the villagers in Act 1 of the opera, depicts the mass merrymaking of Bohemian village life as Smetana would himself have experienced during his childhood.
The incredible energy of the string section was inspiring and the power of an exceptional orchestra never ceases to amaze me.

The Overture, to quote the programme notes, "Opens with a breathtaking whirl of rustic exuberance, which subsides into a chattering murmur suggestive of idle village gossip. A sudden crescendo then leads into a second, more dance-like theme ... towards the end Smetana introduces a more reflective theme but this is soon swept away by a final burst of madcap vitality."

Mark Elder showed complete mastery of the orchestra, bringing out the best of each section, with a fantastic performance.

Next, Gustav Mahler (1860-1911), Five Songs to poems by Fredrich Ruckert.

Mezzo-soprano Sarah Connolly joined the stage to give an exquisite performance.
I have only recently come to appreciate the soprano voice, and this was such a moving interpretation which held audience spellbound.
Sarah Conolly's stage presence was enhanced by her beautiful white dress, which Elder later told me, reminded him of a Greek Goddess!
The five songs:
1) Um Mitternacht (At midnight)
2) Liebst du um Schonheit (If you love for beauty)
3) Blicke mir nicht in die Lieder (Do not spy on my songs)
4) Ict atmet' einen linden Duft (I breathed a gentle scent)
5) Ich bin der Welt abhanden gekommen (I am lost to the world)

were sung out of order, which allowed for much discussion in the interval, and an apology from Elder at the beginning of the second half for forgetting to mention it!
All was forgiven as the delicate orchestral texture left the audience entranced.

After the interval, Antonin Dvorak (1841-1904), Symphony No.6 in D major, op.60.
As Dvorak's Sixth Symphony was commissioned by the one-time Halle conductor, Hans Richter, it seemed appropriate to hear it for the first time in this setting.
The Symphony exhibits the musical influences of his friend Brahms and he would have been proud to have composed this piece himself I am sure.
The four movements:
Allegro non tanto
Adagio
Scherzo (Furiant):Presto
Finale: Allegro con spirito

were all conducted from memory by Mark Elder. His obvious enthusiasm of the piece was captured and brought to life via the conduit of the orchestra.
I often find it difficult to follow a conductor, but not so in this case, Elder's clear conducting and precision timing brought the best out of the Halle.

I had attended the concert with a small group of players from a local youth orchestra, and we were lucky enough to go back stage and have refreshments with Mark Elder, after the performance.
I was very impressed with his genuine delight at seeing these impressionable young performers and the interest he showed to each of them and their chosen instrument.
This is just the sort of exercise that all orchestras should undertake to nurture our young people into the fantastic world of classical music, and, one in which I have discussed many times on this blog.

Elder chatted happily in a relaxed manner, took many questions from the group, and gave thoughtful answers. He was very enthusiastic when one young man admitted that it was his first time at an orchestral concert, and Elder was delighted to have been such an inspiration to him.

The topic of applause, during or between movements, was raised. This is a controversial area, but Elder had no hesitation in voicing his opinion.
"Never be afraid to show your emotion, applaud when you feel like you want to", was the general consensus.
Elder pointed out that Dvorak would have been most upset if people didn't applaud between movements and that the modern day approach is certainly not one that Elder advocates. He likes to know that the audience are enjoying themselves and the feedback is good for both him and his orchestra. (Haven't I said this so many times...)

I also discovered that Elder loves the classical guitar and he asked about the various nail problems that guitarists are doomed to endure.
Now I know he likes the guitar, maybe I should send him a couple of Robin's concerti...After all, the Liverpool Philharmonic have played one, maybe it's now time for the Halle.
As for Robin, I'm afraid he missed it all - he was at home looking after the children!

To Play or Not to Play - That is the Question...

The other day I mentioned Bryn Terfel pulling out of the Royal Opera House's autumn production due to family commitments.
Following on from that, Rupert Christiansen wrote a piece yesterday which has some very good points, and it appears the public are divided. You can read the report and the comments here.

I do know that Robin had to make a very difficult decision connected to the premiere of his first ever concerto, 'Concerto Primavera'.
Two days prior to the performance, Robin's father died suddenly and unexpectedly.
Our world was in turmoil.
We had to deal with the emotion in the same way as any family.
But what do you do about the premiere?
The orchestra were booked and had been rehearsing.
The event was sold out.
It was not only the premiere of the piece, but also, the first concerto Robin had composed.
It wasn't just a case of being present at the premiere, Robin also had to perform it!
All in all it was a difficult position.

We discussed the situation as a family and it was decided that the 'show must go on', for many reasons, one of which being that Robin's father had been looking forward to it so much.
We didn't tell anyone.
Robin just got up there, played as well as he could, and somehow managed to get through the whole experience.
In fact the event was a huge success, and gained excellent reviews, which gave a much needed morale boost.

So, in this situation, the show did go on.
However, I'm not sure the same would apply if it were a sick child.
A parent who has died is a very different scenario, there really isn't a lot you can do.
A sick child needs support.
I just hope we don't have to face that dilemma, and I suppose all situations have to be looked at individually, and an informed decision made that feels right for the performer and their family.

Foulds before Flying ( for Robin Hill )

Yesterday I talked about Robin's 'Concerto Primavera' and it was a coincidence when I looked in The Telegraph today to find an article by Simon Heffer on John Foulds.
John Foulds was born in Manchester, England, in 1880. Manchester is just a few miles down the road from us and, with Walton coming from Oldham, it seems we are a quite a prolific lot up here in the frozen north of England.
Foulds was a composer and conductor who joined the Halle orchestra when in his 20's. By 1906 he had left the Halle to concentrate on composition.
His major work, 'A World Requiem', which commemorated the World War 1 dead, was very popular at the time, but was last performed in 1926.
That is about to change. On November 11th, Armistice night, it will be performed again at The Albert Hall, under the auspices of the BBC, and sponsored by The Daily Telegraph.
I only hope we don't have to wait 81 years for the next performance of 'Concerto Primavera', or any of Robin's other concerti for that matter...
Meanwhile, here, things are a little frantic. There's packing to be done ready for Robin's journey tomorrow.
He is currently in denial about his trip, which is normal, he'll be fine when he's actually on his way. So instead of getting organised he has gone shopping with son number two. That's fine by me, it will save me a job, as he is buying food he won't be home to eat!

Concerto Primavera - Robin Hill

Robin has been locked away in the music room all day practicing hard on the guitar. Whilst he was doing that, I was searching through one of the many piles of paper around the house and came across this:




(You can click on the image to enlarge, but it's a bit of a fiddle I'm afraid, I will try to resolve the problem!)

It is the review for the premiere of 'Concerto Primavera', and as you can see, it went down rather well.
Since then, it has been re-written for guitar and orchestra, and is equally as exciting.
Robin worked very hard that evening, in the first half Hill/Wiltschinsky performed some of their own pieces, and then, Carulli, Sor, Mendelssohn and Petite, before Vivaldi's G Major Concerto with the orchestra.
After a well deserved interval, Robin went back on stage with Simone Rebello and the orchestra for the grand finale.
It was very exciting for me to be in the audience and hear the concerto come to life after months of composing and rehearsal, I think I know every note of 'Concerto Primavera' as well as Robin does.
Maybe I was meant to find it today, Spring, after all, has arrived.