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.

Stockhausen, Stravinsky and Danza Brasilera

The influential yet controversial German Composer Karlheinz Stockhausen has died. You can read about his life, in one of many obituaries, here.

On a lighter note we enjoyed a fabulous evening yesterday watching the London Symphony Orchestra, with their Principle conductor, Valery Gergiev.
Unfortunately we weren't actually there but BBC4 aired the first of three concerts by the LSO.
It was a fantastic programme with classic works by Debussy and Prokofiev, but the highlight of the evening was Stravinsky's, 'The Rite of Spring'.
Gergiev is a flamboyant conductor and a delight to observe, and he managed to get every last ounce (or should that be milligramme?) out of each and every musician.

If you get the chance to see him at work be sure to take it.

'Danza Brasilera', is track 6 on 'Virtuoso', and is a wonderful samba by the Argentinian guitarist and composer, Jorge Morel.
Robin has added his own introduction but the rest of the piece is as the original.

'Gymnopedie' by Erik Satie - Performed by Robin Hill

Erik Satie (1866-1925) was a French composer best remembered for composing deliberately modest music, however, he was a harmonic innovator, especially in his earlier pieces.
His work influenced many other composers, such as, Debussy, Ravel, Poulenc and Cage.

Satie had a turbulent childhood, his mother died when he was young and he was sent to live with his grandmother, who, shortly after, also died.
He returned to Paris to be with his father, but his father soon remarried, the pianist and Romantic composer, Eugenie Barnetsche, whom Eric disliked.

In 1879 Satie entered the Paris Conservatoire, but he wasn't a good student. He was certainly gifted, but records report him as 'lazy' and 'often absent'. He left the conservatoire early, but did continue to study music through harmony, and then piano classes.
In 1887 Satie wrote three Sarabandes, which probably influenced the Sarabande of Debussy, 'Pour le piano', and, it was in the following year that he wrote the 'Gymnopedies'.

By the early 1890's Satie had joined the flamboyant 'Rose + Croix' artistic movement of which Satie was the official composer. It was during this time that Satie met, and became life long friends with, Debussy.
In 1895 two Gymnopedies were published, on the recommendation of Debussy, who also orchestrated a pair the following year.

Today you can hear Robin's arrangement of this calm and haunting, 'Gymnopedie No.1', which paradoxically is both simple yet highly spiritual and profound.