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.

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?

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.

Hyperion Records, Carulli and Lovejoy

We had an interesting 'phone call today from Hyperion records.
Back in 1984 Hill/Wiltschinsky Guitar Duo recorded 'Virtuoso Music for Two Guitars' at Pluto Studios in Manchester.
This was their first recording which launched their careers.
Today Hyperion contacted us as one piece from this album had been used in an episode of 'Lovejoy' on BBC1.
For those not familiar with this t.v. programme, it is a series starring Ian McShane, about the shady dealings of an antique expert called 'Lovejoy', based on the novels by former doctor, Jonathan Gash.
As far as I know at this stage the piece they used was Carulli - Nocturne de Salon Op.227.
That's good news.