As is traditional at this time of year, I have decided to do a quick review, and highlight some of the most popular blog posts.
2009 has certainly been busy.
Despite global recession Robin has travelled to over 30 countries (I gave up counting in the end...) and performed to many thousands of people.
It is always a delight when Robin receives comments and feedback after a concert, and when someone goes to the trouble of seeking the artist out to express their enthusiasm, it is even more rewarding.
It hasn't all been good though.
We have been plagued by 'pirates' with well in excess of 10 000 illegal downloads, and those are the ones I know about.
Not unrelated, as major record companies try to find a way around these issues, was a particular low spot for me, as we had to pull out of recording Robin's concerto, 'Eternal Dances' with the fabulous London Symphony Orchestra due to funding problems related to the recession.
However, yesterday I was delighted to receive an email from a gentleman in Ireland, who had heard one movement played on RTE, and was so taken by it that he managed to contact me to express his enthusiasm.
I know that this piece will be an exceptional addition to the classical guitar concerto repertoire and will therefore pursue the project with renewed energy in 2010.
Looking back through some of the blog posts in 2009 there were a few that stood out.
Back in February we joined Reverbnation.
This post, 'The Stories Behind the Music - Robin Hill on Reverbnation' does exactly as it says. A little insight into each of the pieces available on the player.
Then in March there was a performance of Rodrigo's, 'Concierto de Aranjuez' and the corresponding post, 'The Concierto de Aranjuez, an ancient vinyl and advice on nail care.'
In June we were delighted to discover that one of Robin's pieces, 'Dolor de Muelas' had been nominated for an award, 'JPF Music Awards 2009 - Nominee...Robin Hill!!'
Whilst the piece didn't go onto win, it was a massive achievement to reach this stage.
Also in June a surprise favourite post that came about from a simple question posed on Twitter, as to whether musicians like to eat before, or after, a concert.
I'm indebted to all those that replied, and would like you to know that this post continues to be read daily around the world! 'To Eat or Not to Eat - Before a Concert'.
Then in July a milestone was reached as we celebrated our 3rd Birthday. Quite an achievement in the blogging world, and one that I am rather proud of. 'Life of a Musician' 3rd Birthday'.
By far the most popular post of the entire blog, never mind the last three years, was written in October.
'Music Practice Tips - Classical Guitar' continues to be read worldwide on a daily basis.
The post itself is an extract from Robin's book, 'The Guitar Gymnasium', so all those who have found it interesting should perhaps order themselves a copy, as the post is only a fraction of information that has been tried and tested over a lengthy performing career.
But for now I would like to thank all my readers for continuing to follow the life of this particular musician and to wish you all a very happy and healthy 2010.
Showing posts with label Joaquin Rodrigo. Show all posts
Showing posts with label Joaquin Rodrigo. Show all posts
Thursday, December 31, 2009
Sunday, May 10, 2009
Toucan Play...
The concert last night evolved in a rather extraordinary way for two musicians from Huddersfield.
They actually first met in Lima airport, Peru!
Robin spotted Simeon, submerged beneath a pile of flute cases, and likewise, Simeon rightly surmised, with incredible deductive powers, that Robin was also a musician, as he was sitting with his guitar flight case.
The two struck up a conversation and found they were destined for the same place.
Here they are, later in the trip when they were in Costa Rica:
Last night the venue was full, with some members of the audience travelling quite large distances, as they had previously seen the pair play when in South America.
The programme was eclectic, with Simeon playing a wide variety of flutes and pan pipes in a combination of duets and solo performances.
Programme:
Entracte - Jacques Ibert Robin Hill/Simeon Wood
Fairie Queen - Trad. Robin Hill/Simeon Wood
She Moved Through the Fair - Trad. Robin Hill/Simeon Wood
Malaguena - Trad. Robin Hill
Un Dia de Noviembre - Leo Brouwer Robin Hill
Tango En Skai - Roland Dyens Robin Hill
Gabriel's Oboe Theme - Ennio Morricone Simeon Wood
Devotion - Simeon Wood Simeon Wood
Concerto in D - Vivaldi Robin Hill/Simeon Wood
INTERVAL
Sonata in D - Christian Gottlieb Scheidler Robin Hill/Simeon Wood
Grasping the Thistle - Simeon Wood Simeon Wood
Adagio: Concierto de Aranjuez - Rodrigo Robin Hill
Rakes of Kildare - Trad. Robin Hill/Simeon Wood
Danza Brasileira - Robin Hill Robin Hill
ENCORE
Improvisation - Robin Hill & Simeon Wood (Chinese Flute)
The concert was a great success and both musicians look forward to playing together in the near future.
They actually first met in Lima airport, Peru!
Robin spotted Simeon, submerged beneath a pile of flute cases, and likewise, Simeon rightly surmised, with incredible deductive powers, that Robin was also a musician, as he was sitting with his guitar flight case.
The two struck up a conversation and found they were destined for the same place.
Here they are, later in the trip when they were in Costa Rica:
Last night the venue was full, with some members of the audience travelling quite large distances, as they had previously seen the pair play when in South America.
The programme was eclectic, with Simeon playing a wide variety of flutes and pan pipes in a combination of duets and solo performances.
Programme:
Entracte - Jacques Ibert Robin Hill/Simeon Wood
Fairie Queen - Trad. Robin Hill/Simeon Wood
She Moved Through the Fair - Trad. Robin Hill/Simeon Wood
Malaguena - Trad. Robin Hill
Un Dia de Noviembre - Leo Brouwer Robin Hill
Tango En Skai - Roland Dyens Robin Hill
Gabriel's Oboe Theme - Ennio Morricone Simeon Wood
Devotion - Simeon Wood Simeon Wood
Concerto in D - Vivaldi Robin Hill/Simeon Wood
INTERVAL
Sonata in D - Christian Gottlieb Scheidler Robin Hill/Simeon Wood
Grasping the Thistle - Simeon Wood Simeon Wood
Adagio: Concierto de Aranjuez - Rodrigo Robin Hill
Rakes of Kildare - Trad. Robin Hill/Simeon Wood
Danza Brasileira - Robin Hill Robin Hill
ENCORE
Improvisation - Robin Hill & Simeon Wood (Chinese Flute)
The concert was a great success and both musicians look forward to playing together in the near future.
Monday, March 30, 2009
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.
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.
Monday, December 29, 2008
Concierto de Aranjuez and the Stray Piccolo
I hope you all had a wonderful Christmas and are preparing yourselves for the New Year festivities.
In the lull between events the sound of music has been filling the house.
After a month without live music permeating every corner of our home it has taken some getting used to.
Particularly as Robin is rehearsing the fabulous, 'Concierto de Aranjuez' at the moment, and playing along to a recording at high volume.
More than once I have had requests from the children for Daddy to turn the music down...
Joaquin Rodrigo's Concierto de Aranjuez is an incredible piece and one that places huge demands on the soloist.
Robin has performed it many times over the years, from huge venues with over 3000 people, with Carl Davis and the Liverpool Philharmonic, to small more intimate settings with local orchestras.
He relishes any performance.
It is a piece that requires frequent practice in order to deliver an authoritative and exciting performance.
I was once talking to Paco Pena and I asked him, as Paco de Lucia had just recorded and performed the work, if he had ever contemplated doing the same. He informed me he hadn't recorded the piece as it would require him to take at least a year out to learn it.
That's how hard it is.
But Robin is ready. After many years he finally feels he is in the position to record it.
He has a performance later this year, hence the current preoccupation.
So we are listening to various recordings and interpretations at the moment.
Actually, I was quite proud of myself, (and it shows just how well the wife of a musician gets to know any piece of music they are playing) when listening to one recording I said, "The orchestra played a wrong note there..."
We listened again, and sure enough I was right. One wrong note...in the piccolo department.
I said I had a good ear.
So, if there are any orchestras out there who are planning to perform or record this piece, now is a good time to approach us.
Otherwise we may have to take the recording overseas...
In the lull between events the sound of music has been filling the house.
After a month without live music permeating every corner of our home it has taken some getting used to.
Particularly as Robin is rehearsing the fabulous, 'Concierto de Aranjuez' at the moment, and playing along to a recording at high volume.
More than once I have had requests from the children for Daddy to turn the music down...
Joaquin Rodrigo's Concierto de Aranjuez is an incredible piece and one that places huge demands on the soloist.
Robin has performed it many times over the years, from huge venues with over 3000 people, with Carl Davis and the Liverpool Philharmonic, to small more intimate settings with local orchestras.
He relishes any performance.
It is a piece that requires frequent practice in order to deliver an authoritative and exciting performance.
I was once talking to Paco Pena and I asked him, as Paco de Lucia had just recorded and performed the work, if he had ever contemplated doing the same. He informed me he hadn't recorded the piece as it would require him to take at least a year out to learn it.
That's how hard it is.
But Robin is ready. After many years he finally feels he is in the position to record it.
He has a performance later this year, hence the current preoccupation.
So we are listening to various recordings and interpretations at the moment.
Actually, I was quite proud of myself, (and it shows just how well the wife of a musician gets to know any piece of music they are playing) when listening to one recording I said, "The orchestra played a wrong note there..."
We listened again, and sure enough I was right. One wrong note...in the piccolo department.
I said I had a good ear.
So, if there are any orchestras out there who are planning to perform or record this piece, now is a good time to approach us.
Otherwise we may have to take the recording overseas...
Tuesday, November 18, 2008
Jimi Hendrix, Noel Redding and Mitch Mitchell - Experience Reunited?
Those who follow this blog regularly will know that Jimi Hendrix has played a huge role in Robin's musical life.
But it wasn't just Hendrix, it was the whole 'Jimi Hendrix Experience', the meeting of three musicians who changed the face of music.
Jimi Hendrix, Noel Redding and Mitch Mitchell.
It's not just Robin though, most musicians I know have spent a lifetime listening to the music of Jimi Hendrix. Right across the range from classical, jazz, to rock.
There was something so exhilarating, exciting and original about their playing, interaction, and complete 'ease' with their instruments that seems to inspire all musicians. Nigel Kennedy, for example, has always been very vocal about his musical roots and love of Hendrix.
So it was with great sadness that we heard of the death of the last surviving band member, Mitch Mitchell.
Mitchell was a fabulous drummer and the interplay between him and Hendrix was legendary.
You can read an interesting and informative obituary in The Telegraph.
The sad news prompted a weekend of listening to various tracks and searching for a fitting YouTube video to show all the band members at their best.
But it didn't stop there.
Robin has spent some time practicing Rodrigo's, 'Concierto de Aranjuez', for a performance next year, and emerged from the music room as I was surfing the net.
Just to live up to his reputation of the 'Hendrix of the classical guitar', he proceeded to play the opening bars of the concierto with his guitar behind his head...
It wasn't until I pointed out that this may not be the best way to treat his valuable Rodriguez guitar, and that maybe he should try it with his Stratocaster instead, that he stopped. (I know, it's boring always being the sensible one...)
Anyway, the world is a poorer place with the loss of Mitch Mitchell.
Our hope is that finally, after many years, the trio have now been reunited, and are holding the best ever jam session somewhere....
But here on earth, we have to be content with archive footage.
There's so much to choose from it has been difficult.
We finally settled on a song called 'Killing Floor', originally by the band, 'Electric Flag', as it shows beautifully the energy and interaction on stage during a live performance.
As the video won't post to blog, you'll have to click the link to watch, but it's worth it... 'The Jimi Hendrix Experience - Killing Floor.'
But it wasn't just Hendrix, it was the whole 'Jimi Hendrix Experience', the meeting of three musicians who changed the face of music.
Jimi Hendrix, Noel Redding and Mitch Mitchell.
It's not just Robin though, most musicians I know have spent a lifetime listening to the music of Jimi Hendrix. Right across the range from classical, jazz, to rock.
There was something so exhilarating, exciting and original about their playing, interaction, and complete 'ease' with their instruments that seems to inspire all musicians. Nigel Kennedy, for example, has always been very vocal about his musical roots and love of Hendrix.
So it was with great sadness that we heard of the death of the last surviving band member, Mitch Mitchell.
Mitchell was a fabulous drummer and the interplay between him and Hendrix was legendary.
You can read an interesting and informative obituary in The Telegraph.
The sad news prompted a weekend of listening to various tracks and searching for a fitting YouTube video to show all the band members at their best.
But it didn't stop there.
Robin has spent some time practicing Rodrigo's, 'Concierto de Aranjuez', for a performance next year, and emerged from the music room as I was surfing the net.
Just to live up to his reputation of the 'Hendrix of the classical guitar', he proceeded to play the opening bars of the concierto with his guitar behind his head...
It wasn't until I pointed out that this may not be the best way to treat his valuable Rodriguez guitar, and that maybe he should try it with his Stratocaster instead, that he stopped. (I know, it's boring always being the sensible one...)
Anyway, the world is a poorer place with the loss of Mitch Mitchell.
Our hope is that finally, after many years, the trio have now been reunited, and are holding the best ever jam session somewhere....
But here on earth, we have to be content with archive footage.
There's so much to choose from it has been difficult.
We finally settled on a song called 'Killing Floor', originally by the band, 'Electric Flag', as it shows beautifully the energy and interaction on stage during a live performance.
As the video won't post to blog, you'll have to click the link to watch, but it's worth it... 'The Jimi Hendrix Experience - Killing Floor.'
Wednesday, September 17, 2008
Review: Robin Hill & Izzy Cooper
On the 28th August Robin and the soprano Izzy Cooper performed a concert in Spain, 'Viva La Classica'.
I mentioned how it had gone at the time, rather briefly, as I was in the process of retrieving my son before he became stranded, when his Dad flew off to another concert.
You can read the post here.
So I was very pleased, when yesterday I was notified about a review, written by Jack Troughton, in 'Round Town News'.
I was even happier when I read the first line, "The golden blend of Izzy Cooper's powerful voice and the glorious guitar playing of Robin Hill made Viva La Classica an enchanting success."
The programme was a varied one:
Act 1:
Les filles de Cadix - Leo Delibes
Siete Canciones Populares Espanolas - Manuel de Falla
Bachianas Brasileiras No.5 - Heitor Villa-Lobos
Un Dia de Noviembre - Leo Brouwer (solo - Robin Hill)
Recuerdos de la Alhambra - Francisco Tarrega (solo - Robin Hill)
Malaguena - trad arr.Hill (solo - Robin Hill)
En Aranjuez, con tu amor - Joaquin Rodrigo
Granada - Agustin Lara
Tu Quieres Volver - Gypsy Kings
Act 11:
Lascia Ch'io Pianga - George Frederic Handel
Plaisir D'Amour - Jean Paul Martini
Scarborough Fair - Simon and Garfunkel
Fields of Gold - Sting
Ave Maria - Charles Gounod
Tango en Skai - Roland Dyens (solo - Robin Hill)
Cavatina - Stanley Myres (solo - Robin Hill)
Asturias - Isaac Albeniz arr.Hill (solo - Robin Hill)
My love is like a red red rose - Robbie Burns
Somewhere over the rainbow - E Y Harburg & Harold Arlen
O Mio Babbino Caro - Giacomo Puccini
Imagine - John Lennon
Por ti Sere - Brendan Graham & Rolf Lovland
Here's a photo, courtesy of Round Town News, of Robin whilst performing one of the solo pieces.
The more observant amongst you will notice the lack of footstool. He is in fact, on this occasion, using a special cushion, designed to mould to the shape of the leg.
The review itself is a great one.
Izzy is described as a, "star", and Robin, "holds an audience spellbound", and one line I particularly like, " His fingers flew along the guitar's neck like the wings of a hummingbird."
But don't take my word for it. Follow the link and read it for yourself, "One Enchanted Evening".
Both Izzy and Robin are delighted at the reception they received, and have already been taking orders for the album they will be recording together.
My job, to find a time in their busy schedules to make that possible....and soon.
I mentioned how it had gone at the time, rather briefly, as I was in the process of retrieving my son before he became stranded, when his Dad flew off to another concert.
You can read the post here.
So I was very pleased, when yesterday I was notified about a review, written by Jack Troughton, in 'Round Town News'.
I was even happier when I read the first line, "The golden blend of Izzy Cooper's powerful voice and the glorious guitar playing of Robin Hill made Viva La Classica an enchanting success."
The programme was a varied one:
Act 1:
Les filles de Cadix - Leo Delibes
Siete Canciones Populares Espanolas - Manuel de Falla
Bachianas Brasileiras No.5 - Heitor Villa-Lobos
Un Dia de Noviembre - Leo Brouwer (solo - Robin Hill)
Recuerdos de la Alhambra - Francisco Tarrega (solo - Robin Hill)
Malaguena - trad arr.Hill (solo - Robin Hill)
En Aranjuez, con tu amor - Joaquin Rodrigo
Granada - Agustin Lara
Tu Quieres Volver - Gypsy Kings
Act 11:
Lascia Ch'io Pianga - George Frederic Handel
Plaisir D'Amour - Jean Paul Martini
Scarborough Fair - Simon and Garfunkel
Fields of Gold - Sting
Ave Maria - Charles Gounod
Tango en Skai - Roland Dyens (solo - Robin Hill)
Cavatina - Stanley Myres (solo - Robin Hill)
Asturias - Isaac Albeniz arr.Hill (solo - Robin Hill)
My love is like a red red rose - Robbie Burns
Somewhere over the rainbow - E Y Harburg & Harold Arlen
O Mio Babbino Caro - Giacomo Puccini
Imagine - John Lennon
Por ti Sere - Brendan Graham & Rolf Lovland
Here's a photo, courtesy of Round Town News, of Robin whilst performing one of the solo pieces.
The more observant amongst you will notice the lack of footstool. He is in fact, on this occasion, using a special cushion, designed to mould to the shape of the leg.
The review itself is a great one.
Izzy is described as a, "star", and Robin, "holds an audience spellbound", and one line I particularly like, " His fingers flew along the guitar's neck like the wings of a hummingbird."
But don't take my word for it. Follow the link and read it for yourself, "One Enchanted Evening".
Both Izzy and Robin are delighted at the reception they received, and have already been taking orders for the album they will be recording together.
My job, to find a time in their busy schedules to make that possible....and soon.
Sunday, August 31, 2008
Coffee in Alicante
We have had a strange few days.
Robin and son left Crystal Serenity some time ago.
To prove Robin did actually do a concert whilst there, here's the poster:
And this was taken during the sound check:
They then spent a few days in Spain preparing for the concert with Izzy Cooper. This is one of many rehearsals:
Apparently the concert was a huge success.
The beautiful setting was the perfect backdrop for a lovely concert, with a programme that included pieces by Leo Delibes, Manuel de Falla, Villa-Lobos, Leo Brouwer, Tarrega, Joaquin Rodrigo, Handel, Puccini and many more, and there was even a firework display at the end!
I'm hoping to get some pictures at some point, but I do know that the audience had a wonderful evening.
Despite some technical problems, which required Robin to tell a few jokes whilst the team sorted it out, all went extremely well.
So successful was the event that a recording will hopefully be made in the next few months.
It was 2am before the audience finally let the pair go, so it was rather a tired party that arrived to meet me at the airport.
Not that I minded.
I'd been up incredibly early myself in order to arrive in Spain at 11 am....
The reason for this madness??
Well, when it was arranged that son number one would accompany Robin on the Crystal trip we thought they would both be returning home at the end of it.
After all flights were booked and plans made, it became obvious that the only available date for the Robin and Izzy to perform, was the 28th August.
So, the Hill men were diverted to Spain.
Unfortunately, Robin then had to fly straight off to Malta...
So, on Friday, I flew over to Spain to collect my son, before he became an abandoned child.
We had checked out all possibilities for him to fly solo, but unbelievably it isn't possible between Alicante and Manchester before he is 12 years old!!
Actually, it did at least mean that I briefly met Izzy, and also had a whole 2 hours with my husband.
Obviously coffee and a sandwich in Alicante airport isn't the romantic of settings, but when he's away for a month anything is a bonus.
The time sadly flew by, and before we knew it there was a tearful farewell, as Robin boarded a plane to Malta.
Son and I then spent many hours sitting in the sun, outside the airport, catching up with news, before our flight home.
Now Robin has joined the Queen Victoria where he has two concerts over the next week, the first one today.
More on that soon. Hopefully.
Robin and son left Crystal Serenity some time ago.
To prove Robin did actually do a concert whilst there, here's the poster:
And this was taken during the sound check:
They then spent a few days in Spain preparing for the concert with Izzy Cooper. This is one of many rehearsals:
Apparently the concert was a huge success.
The beautiful setting was the perfect backdrop for a lovely concert, with a programme that included pieces by Leo Delibes, Manuel de Falla, Villa-Lobos, Leo Brouwer, Tarrega, Joaquin Rodrigo, Handel, Puccini and many more, and there was even a firework display at the end!
I'm hoping to get some pictures at some point, but I do know that the audience had a wonderful evening.
Despite some technical problems, which required Robin to tell a few jokes whilst the team sorted it out, all went extremely well.
So successful was the event that a recording will hopefully be made in the next few months.
It was 2am before the audience finally let the pair go, so it was rather a tired party that arrived to meet me at the airport.
Not that I minded.
I'd been up incredibly early myself in order to arrive in Spain at 11 am....
The reason for this madness??
Well, when it was arranged that son number one would accompany Robin on the Crystal trip we thought they would both be returning home at the end of it.
After all flights were booked and plans made, it became obvious that the only available date for the Robin and Izzy to perform, was the 28th August.
So, the Hill men were diverted to Spain.
Unfortunately, Robin then had to fly straight off to Malta...
So, on Friday, I flew over to Spain to collect my son, before he became an abandoned child.
We had checked out all possibilities for him to fly solo, but unbelievably it isn't possible between Alicante and Manchester before he is 12 years old!!
Actually, it did at least mean that I briefly met Izzy, and also had a whole 2 hours with my husband.
Obviously coffee and a sandwich in Alicante airport isn't the romantic of settings, but when he's away for a month anything is a bonus.
The time sadly flew by, and before we knew it there was a tearful farewell, as Robin boarded a plane to Malta.
Son and I then spent many hours sitting in the sun, outside the airport, catching up with news, before our flight home.
Now Robin has joined the Queen Victoria where he has two concerts over the next week, the first one today.
More on that soon. Hopefully.
Wednesday, July 02, 2008
Rodrigo and Steely Dan 'Aja'
We listen to a lot of music here at Hillhouse.
Currently we are alternating between two very different styles.
As I have mentioned, Robin is performing the 'Concierto de Aranjuez' next year.
Part of the preparation involves listening to many different interpretations.
So when I can't hear Robin playing through the piece himself, or working on parts of it, then I frequently hear recordings by various artists.
Robin does, of course, have his own interpretation, but it's always good to hear others performances.
But it's not all work.
We are also revisiting one of the best albums ever made, 'Aja' by Steely Dan.
We have listened to this album for many years, but on one of Robin's recent trips abroad, he happened to come across a documentary about the making of Aja, which offered a wonderful insight into this remarkable recording.
Although released in 1977, Donald Fagen and Walter Becker created a classic album which sounds as fresh today as it did 31 years ago.
This is due not only to the incredible quality of composition and intelligent lyrics, but also to featuring some of the greatest session players around.
Joe Sample, Wayne Shorter , Steve Gadd and Tom Scott, to name but a few.
If you are unfamiliar with the 'Aja' album, then I strongly recommend that you get yourself a copy immediately.
Meanwhile, we shall continue to alternate between Rodrigo and Steely Dan. Not a bad backdrop to my work.
Currently we are alternating between two very different styles.
As I have mentioned, Robin is performing the 'Concierto de Aranjuez' next year.
Part of the preparation involves listening to many different interpretations.
So when I can't hear Robin playing through the piece himself, or working on parts of it, then I frequently hear recordings by various artists.
Robin does, of course, have his own interpretation, but it's always good to hear others performances.
But it's not all work.
We are also revisiting one of the best albums ever made, 'Aja' by Steely Dan.
We have listened to this album for many years, but on one of Robin's recent trips abroad, he happened to come across a documentary about the making of Aja, which offered a wonderful insight into this remarkable recording.
Although released in 1977, Donald Fagen and Walter Becker created a classic album which sounds as fresh today as it did 31 years ago.
This is due not only to the incredible quality of composition and intelligent lyrics, but also to featuring some of the greatest session players around.
Joe Sample, Wayne Shorter , Steve Gadd and Tom Scott, to name but a few.
If you are unfamiliar with the 'Aja' album, then I strongly recommend that you get yourself a copy immediately.
Meanwhile, we shall continue to alternate between Rodrigo and Steely Dan. Not a bad backdrop to my work.
Monday, June 30, 2008
Snow Patrol and Joaquin Rodrigo
The life of a musician is anything but ordinary.
Robin has been home for a few days now, after three weeks away.
As you can imagine, there are always a great many things for him to deal with on his return.
The success of our MySpace page has already put us in contact with many interesting, and accomplished musicians, some of whom have been forwarding music for Robin to listen to.
I'm currently trying to find a slot of time to sit him down and play him the various mp3's which have arrived from hopeful composers.
But he has to make time for his family.
Three weeks away from home is a particularly long time for young children.
In Robin's absence I have been aided in distracting them by many end of term activities.
There seem to have been an endless stream of parties over every weekend.
So, on Sunday, I casually pointed out to Robin that he may like to take our youngest son to a 'snow party' later that day.
He willingly agreed, it would be an ideal opportunity to spend some time with the little chap.
As I left the music room I then added, "Oh, yes, you'll be taking the twins too, OK," and beat a hasty retreat.
I must say I was a little anxious about this expedition.
Robin doesn't really 'do' snow. It's cold and his hands don't like cold.
However, he'd agreed, and I needed a break.
All credit to him, he had a great time, his three charges all had a great time, and I enjoyed a couple of hours of child free calm.
But the exciting thing about living with a musician is that everything can change with just one 'phone call.
I returned from yet another party to hear Robin practising Rodrigo's 'Concierto de Aranjuez'. This is a fabulous piece, and one I am very familiar with.
However I wasn't expecting Robin to be playing it.
I shall have to get used to it though, as he has been asked to play the concierto next year.
The last time he performed it was with the Liverpool Philharmonic and rehearsal at home was so intense that our son used to sing the theme to himself to get to sleep at night!
So, if there are any orcheatras out there that want to put on the 'Concierto de Aranjuez' sometime after March next year, now is the time to get in touch.
Robin has been home for a few days now, after three weeks away.
As you can imagine, there are always a great many things for him to deal with on his return.
The success of our MySpace page has already put us in contact with many interesting, and accomplished musicians, some of whom have been forwarding music for Robin to listen to.
I'm currently trying to find a slot of time to sit him down and play him the various mp3's which have arrived from hopeful composers.
But he has to make time for his family.
Three weeks away from home is a particularly long time for young children.
In Robin's absence I have been aided in distracting them by many end of term activities.
There seem to have been an endless stream of parties over every weekend.
So, on Sunday, I casually pointed out to Robin that he may like to take our youngest son to a 'snow party' later that day.
He willingly agreed, it would be an ideal opportunity to spend some time with the little chap.
As I left the music room I then added, "Oh, yes, you'll be taking the twins too, OK," and beat a hasty retreat.
I must say I was a little anxious about this expedition.
Robin doesn't really 'do' snow. It's cold and his hands don't like cold.
However, he'd agreed, and I needed a break.
All credit to him, he had a great time, his three charges all had a great time, and I enjoyed a couple of hours of child free calm.
But the exciting thing about living with a musician is that everything can change with just one 'phone call.
I returned from yet another party to hear Robin practising Rodrigo's 'Concierto de Aranjuez'. This is a fabulous piece, and one I am very familiar with.
However I wasn't expecting Robin to be playing it.
I shall have to get used to it though, as he has been asked to play the concierto next year.
The last time he performed it was with the Liverpool Philharmonic and rehearsal at home was so intense that our son used to sing the theme to himself to get to sleep at night!
So, if there are any orcheatras out there that want to put on the 'Concierto de Aranjuez' sometime after March next year, now is the time to get in touch.
Sunday, November 25, 2007
Canarios and Cunard's 'Queen Victoria'
Canarios is a lively and optimistic piece of music which, as the title suggests, hails from the Canary Islands.
Gaspar Sanz (1640-1710) was a dominant figure of Spanish baroque music, and Canarios is taken from Sanz's 'Suite Espagnole'.
Many people will recognise the theme from Joaquin Rodrigo's, 'Fantasia Para Una Gentilhombre', which was composed for Andres Segovia in 1953.
Canarios is such a happy piece that Robin frequently performs it as an encore, which is always very popular.
You can hear Robin playing it here, track 10.
There was an interesting article in the paper today, for anyone of a nautical persuasion, 'Cunard adds 'Queen Victoria' to its fleet', by Richard Grey.
Judging by the pictures and the descriptions on Cunard's site, the Queen Victoria is certainly luxurious.
The Royal Court Theatre looks incredible, with three levels to create a grand auditorium, including private boxes.
The theatre seats over 800, and in early January Robin will be performing a couple of concerts on board.
Still, one of the 352,000 bottles of champagne that are expected to be drunk next year, should help to calm any post concert nerves....
Gaspar Sanz (1640-1710) was a dominant figure of Spanish baroque music, and Canarios is taken from Sanz's 'Suite Espagnole'.
Many people will recognise the theme from Joaquin Rodrigo's, 'Fantasia Para Una Gentilhombre', which was composed for Andres Segovia in 1953.
Canarios is such a happy piece that Robin frequently performs it as an encore, which is always very popular.
You can hear Robin playing it here, track 10.
There was an interesting article in the paper today, for anyone of a nautical persuasion, 'Cunard adds 'Queen Victoria' to its fleet', by Richard Grey.
Judging by the pictures and the descriptions on Cunard's site, the Queen Victoria is certainly luxurious.
The Royal Court Theatre looks incredible, with three levels to create a grand auditorium, including private boxes.
The theatre seats over 800, and in early January Robin will be performing a couple of concerts on board.
Still, one of the 352,000 bottles of champagne that are expected to be drunk next year, should help to calm any post concert nerves....
Thursday, November 15, 2007
Track 1: Malaguena and 'Classical Star'
So, here we have the first in the series of liner notes for 'Virtuoso'.
The track is 'Malaguena'.
The word Malaguena can mean many things, literally it's meaning is 'A woman living in the Spanish port city of Malaga'.
However, it is also commonly used in the music world as being 'a traditional flamenco song of Malaga'.
In this case, Malaguena is a traditional, fast and exuberant flamenco style piece, which has evolved from the sevillana and the fandango.
Originally Malaguenas were sung and played at high speed, with rhythmic patterns in 6/8 time, to accompany dance.
However, towards the end of the 19th Century the Malaguena developed further incorporating more from 'real' flamenco.
The music was slowed down, and the melody enriched with flourishes and ornaments, as the number of performers was reduced to a single guitar.
Virtuoso techniques were gradually incorporated, such as the rapid arpeggio, scales and the tremolo, which then created a much more varied palette.
Whilst the Malaguena had always derived from local fandangos, with regional variations, it was the guitar that allowed for the independence of the malaguena from the fandango, due to the changes in character of the playing with solo guitar and an ability to produce a sharper and richer sound.
For this recording, Robin decided to start the CD with Malaguena as the idea was to market to a wide range of audience, and this particular piece is always popular in concert. Most people instantly recognise the main theme, and it's always good to start with something very exciting and , at the same time, familiar!
The main theme is stated in the bass which is then followed by a rapid variation section and the theme is then repeated with an accompanying tremelo in the treble. The piece then modulates from E major to C major maintaining the tremelo. A slow expressive section in C major ensues..this section being reminiscent of the canto libre style....a rapid scale flourish re-introduces the main theme and the first section is then repeated.
So I hope that you enjoy it!
On another subject, yes, we did watch 'Classical Star' last night, and I did make it through the whole day without finding out who had won!
It was exciting to watch and nerve wracking waiting to hear the final results.
At the risk of sounding too politically correct, I do think they all did very well.
The stress of performing a concerto is something most people will never experience. There's a huge pressure to get it right and the thrill of an orchestra playing behind you is incredible.
Sophie did very well with an incredibly difficult piece, and it will be interesting to see how her career develops now that she has won the competition.
Karen took the bassoon onto another level. Whatever the outcome of the competition, she has done herself and her chosen instrument an huge favour. I'm sure we will be hearing more of her in the future.
Ian, well, I'm not surprised that he didn't win, but he was up against some very strong competition.
He also has youth on his side and I feel that he can, and will, improve his interpretive skills as he matures. As I have already said, technically he is very good, but he needs to learn to add more soul and emotion. Even in the brief clips we saw and heard on the programme his improvement was evident.
'Concierto de Aranjuez' is a formidable piece for any guitarist to undertake. It is deceptively difficult throughout all three movements.
I always remember watching a video of Julian Bream performing the piece and he can clearly be seen to mouth the words, "It's a bugger", to the conductor!
From personal experience, Robin first performed the concerto with the Liverpool Philharmonic Orchestra, with the conductor, Carl Davis. He had a couple of months to prepare the piece and practised it so much that our young son used to sing the main theme in his cot as he went to sleep!
No guitarist takes this piece for granted and we discussed it with Paco Pena, who was on the same programme.
Robin asked him if he would contemplate recording it, as Paco de Lucia had just recorded and performed it, and Paco's reply was that he may do one day but would need at least a year to prepare.
So, it was a very brave move to play this piece, however an understandable one. It is by far, and quite desevedly, the most well known classical guitar concerto.
'Star' quality also incorporates an artists ability to communicate with the audience, and Ian certainly seemed able to do that. His comments about tuning the guitar could have come from an 'old' pro!
So to sum up, Ian did very well given his age and I'm sure we will hear more of him as he develops as a person and as a player.
As for the programme itself, well, the classical music world is full of competitions, and all the stresses, strains and tears that go along with them.
At least on this occasion the criticisms were always constructive and delivered in a positive way, and I'm sure that all the participants have therefore benefited from the experience.
Also, the exposure of classical music on mainstream T.V. can only be a good thing. If there's another series, it would be nice to hear longer extracts, or even whole performances, so that those of us at home can evaluate each student, rather than basing our decisions on edited highlights.
The track is 'Malaguena'.
The word Malaguena can mean many things, literally it's meaning is 'A woman living in the Spanish port city of Malaga'.
However, it is also commonly used in the music world as being 'a traditional flamenco song of Malaga'.
In this case, Malaguena is a traditional, fast and exuberant flamenco style piece, which has evolved from the sevillana and the fandango.
Originally Malaguenas were sung and played at high speed, with rhythmic patterns in 6/8 time, to accompany dance.
However, towards the end of the 19th Century the Malaguena developed further incorporating more from 'real' flamenco.
The music was slowed down, and the melody enriched with flourishes and ornaments, as the number of performers was reduced to a single guitar.
Virtuoso techniques were gradually incorporated, such as the rapid arpeggio, scales and the tremolo, which then created a much more varied palette.
Whilst the Malaguena had always derived from local fandangos, with regional variations, it was the guitar that allowed for the independence of the malaguena from the fandango, due to the changes in character of the playing with solo guitar and an ability to produce a sharper and richer sound.
For this recording, Robin decided to start the CD with Malaguena as the idea was to market to a wide range of audience, and this particular piece is always popular in concert. Most people instantly recognise the main theme, and it's always good to start with something very exciting and , at the same time, familiar!
The main theme is stated in the bass which is then followed by a rapid variation section and the theme is then repeated with an accompanying tremelo in the treble. The piece then modulates from E major to C major maintaining the tremelo. A slow expressive section in C major ensues..this section being reminiscent of the canto libre style....a rapid scale flourish re-introduces the main theme and the first section is then repeated.
So I hope that you enjoy it!
On another subject, yes, we did watch 'Classical Star' last night, and I did make it through the whole day without finding out who had won!
It was exciting to watch and nerve wracking waiting to hear the final results.
At the risk of sounding too politically correct, I do think they all did very well.
The stress of performing a concerto is something most people will never experience. There's a huge pressure to get it right and the thrill of an orchestra playing behind you is incredible.
Sophie did very well with an incredibly difficult piece, and it will be interesting to see how her career develops now that she has won the competition.
Karen took the bassoon onto another level. Whatever the outcome of the competition, she has done herself and her chosen instrument an huge favour. I'm sure we will be hearing more of her in the future.
Ian, well, I'm not surprised that he didn't win, but he was up against some very strong competition.
He also has youth on his side and I feel that he can, and will, improve his interpretive skills as he matures. As I have already said, technically he is very good, but he needs to learn to add more soul and emotion. Even in the brief clips we saw and heard on the programme his improvement was evident.
'Concierto de Aranjuez' is a formidable piece for any guitarist to undertake. It is deceptively difficult throughout all three movements.
I always remember watching a video of Julian Bream performing the piece and he can clearly be seen to mouth the words, "It's a bugger", to the conductor!
From personal experience, Robin first performed the concerto with the Liverpool Philharmonic Orchestra, with the conductor, Carl Davis. He had a couple of months to prepare the piece and practised it so much that our young son used to sing the main theme in his cot as he went to sleep!
No guitarist takes this piece for granted and we discussed it with Paco Pena, who was on the same programme.
Robin asked him if he would contemplate recording it, as Paco de Lucia had just recorded and performed it, and Paco's reply was that he may do one day but would need at least a year to prepare.
So, it was a very brave move to play this piece, however an understandable one. It is by far, and quite desevedly, the most well known classical guitar concerto.
'Star' quality also incorporates an artists ability to communicate with the audience, and Ian certainly seemed able to do that. His comments about tuning the guitar could have come from an 'old' pro!
So to sum up, Ian did very well given his age and I'm sure we will hear more of him as he develops as a person and as a player.
As for the programme itself, well, the classical music world is full of competitions, and all the stresses, strains and tears that go along with them.
At least on this occasion the criticisms were always constructive and delivered in a positive way, and I'm sure that all the participants have therefore benefited from the experience.
Also, the exposure of classical music on mainstream T.V. can only be a good thing. If there's another series, it would be nice to hear longer extracts, or even whole performances, so that those of us at home can evaluate each student, rather than basing our decisions on edited highlights.
Sunday, September 30, 2007
Dowland to Rodrigo - Guitar on the QE2
The QE2 has left Quebec and is now cruising the Gulf of St.Lawrence.
Today Robin is performing the third, and final, concert of the trip.
I thought you may like to see what he is playing, so, here is the programme:
Two Dances - John Dowland
(Melancholy Galliard - Allemande)
Two Pieces for Viheula
Guardame Las Vacas - Luis de Narvaez
Fantasia - Alonso Mudarra
Homage a Tarrega - Joaquin Turina
(Garrotin - Soleares)
Una Limosna Por el Amor de Dios - Agustin Barrios
Alegrias - Celedonio Romero
Cavatina - Stanley Myers
Two Pieces - Robin Hill
(Canzone - Fiesta)
Adagio (extract from Concierto de Aranjuez) - Joaquin Rodrigo
Alegrias - Traditional (Arr.Hill)
Robin Hill - guitar
This programme lasts for 45 minutes, but every one of those minutes, are pretty eventful!
I look forward to hearing how it went and reporting back with more news tomorrow.
Today Robin is performing the third, and final, concert of the trip.
I thought you may like to see what he is playing, so, here is the programme:
Two Dances - John Dowland
(Melancholy Galliard - Allemande)
Two Pieces for Viheula
Guardame Las Vacas - Luis de Narvaez
Fantasia - Alonso Mudarra
Homage a Tarrega - Joaquin Turina
(Garrotin - Soleares)
Una Limosna Por el Amor de Dios - Agustin Barrios
Alegrias - Celedonio Romero
Cavatina - Stanley Myers
Two Pieces - Robin Hill
(Canzone - Fiesta)
Adagio (extract from Concierto de Aranjuez) - Joaquin Rodrigo
Alegrias - Traditional (Arr.Hill)
Robin Hill - guitar
This programme lasts for 45 minutes, but every one of those minutes, are pretty eventful!
I look forward to hearing how it went and reporting back with more news tomorrow.
Saturday, July 28, 2007
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.
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.
Wednesday, May 30, 2007
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.
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.
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