Robin Hill - 'Guitar Dimensions' New Release!

We are pleased to announce the release of 'Guitar Dimensions' which features pieces for guitar and orchestra and solo guitar, from jazz through flamenco to classical.
Some pieces here are well known favourites, others have never previously been heard.

The album notes, found below, were written by Robin and provide further information about each piece.

Samples of 'Guitar Dimensions' can be heard on iTunes, Amazon and CD Baby. It is available as digital download and also, via our website, on CD.


Guitar Dimensions

‘Take Five’ was one of the first pieces of music to make a real impact on me. When I first heard it I was probably around 10 years of age. My father had taken me for a guitar lesson and two of the teachers were playing it as a duet. It immediately connected with me and I remember getting the sheet music. In my arrangement, for guitar solo, I make use of percussive effects with the right hand while the left hand keeps the riff going. The tune, of course, was made famous by the Dave Brubeck Quartet and was composed by alto player, Paul Desmond (1924-1977).

The ‘Celtic Concerto’ by myself is a reflection of my love for traditional celtic music.
The piece consists of six movements of which three can be heard here – ‘For Turlough’ inspired by, and dedicated to, the great Irish harpist and composer, Turlough O’Carolan (1670-1738) This starts with the solo guitar stating the main theme sparsely accompanied by pizzicato basses, cellos and percussion. The full orchestra then takes over accompanied by the guitar. The mood is optimistic and the atmosphere vibrant.
‘Return to Islay’ was inspired by a visit to this beautiful Hebridean island and reflects the simplicity, and the beauty, of its unspoilt character.
‘Rakes of Kildare’ is based on a traditional theme with the first statement by solo guitar. This is a lively jig with much merriment and good humour.

‘Canon’, by Johann Pachelbel (1653-1706) is his most well-known and loved composition. It was first recorded in 1940 by Arthur Fiedler and the Boston Symphony Orchestra. Although originally in D, I prefer the resonance of Eb in my arrangement, using a capo at the first fret.

‘Jota California’ is from another piece for guitar & orchestra in six movements by myself. The Spanish jota is always a lively affair with much hand clapping and invariably accompanied by castanets.

The ‘Concierto de Aranjuez’ by Joaquin Rodrigo (1901-1999), was composed in Paris in 1939 and premiered in Barcelona in 1940. The soloist, on that occasion was Regino Sainz de la Maza. The beautiful adagio is the essential core of the concerto and passes through many different moods until it reaches its logical conclusion. In her autobiography, Victoria, Rodrigo’s wife, eventually declared that the adagio was a response to their devastation at the miscarriage of her first pregnancy. I first performed the concerto in Liverpool with the Royal Liverpool Philharmonic Orchestra conducted by Carl Davis.

‘Fiesta de Xabia’ was composed in Spain on a family holiday. It represents the excitement, bravura and vibrancy of a Spanish fiesta.
Gabriel Fauré (1845-1924) composed his ‘Pavane’ Op.50 in 1887. It was originally for solo piano.
Fauré modestly described it as, ‘elegant but not otherwise important.’ The piece’s rhythm comes from the slow, processional Spanish court dance of the same name. It is highly melodic and beautifully haunting and evolves through a series of sophisticated harmonies to its inevitable conclusion. The piece enjoyed immediate popularity which it has retained to the present day.

Claude Bolling’s (b. 1930) ‘Hispanic Dance’ is the first movement of his ‘Concerto for Classic Guitar & Jazz Piano Trio’. It is basically a lively, sparkling dialogue between the guitar and piano with the double bass and drums supplying the underlying pulse. I gave the first UK performance of the piece in Liverpool in 1981. There are six more movements in the concerto all of which I have recorded with my quartet, Eklectica.

John Dowland (1563-1626) was the greatest lutenist of his day. A contemporary account of his playing said, ‘his touch upon the lute doth ravish all human sense.’ He was renowned for his introspective temperament and this is surely reflected in his ‘Melancholy Galliard’ . However ‘My Lady Hunsdon’s Puffe’ illustrates a completely different side to his character. The piece is ebullient and demonstrates that the composer possessed a wicked sense of humour. My Lady Hunsdon is pilloried for her lack of ‘puffe’ i.e. stamina……she was a keen dancer but rather unfit….in the second section of the piece she is heard to slow down and to become rather breathless…

Stanley Myers (1930-1993) was a British composer who also wrote the theme music for BBC’s ‘Question Time’. ‘Cavatina’ was originally used in the film, ‘The Walking Stick’
but later, and much more famously, it was used on the soundtrack, and as the main theme, for ‘The Deer Hunter’.

The ‘Gavotte en Rondeau’ by J.S. Bach (1685-1750) comes from his Fourth Lute Suite and was one of the first pieces I heard played by the great Andres Segovia (1983-1987). Although originally composed for the solo violin and/or the lute clavichord, it embodies for me the very quintessence of the classical guitar. In this recording I play the piece with a capo at the first fret and on a Manuel Reyes flamenco guitar circa 1963. The sonority of F major and the Reyes seem to work for me. The ‘Prelude from 1st. Cello Suite’, however, is played on my 1980 Miguel Rodriguez. This, for me, is such an optimistic piece and a justly famous work.

Isaac Albeniz (1860 – 1909) composed ‘Rumores de la Caleta’ for the solo piano.
It is, however, steeped in the flamenco music of Andalusia. I have arranged it with this very much in mind…the introduction featuring an extended improvised section leading into the original piece.

‘La Paloma’ by Sebastian Iradier was composed in 1863 following a visit to Cuba. Its ascent to worldwide popularity was rapid and it was performed by many artists from very
diverse genres. This arrangement is by Francisco Tarrega the composer of much original music for the guitar and also the arranger of many classic pieces by Chopin, Mozart, Beethoven, Bach and many more….


The ‘Fantasia X’ by Alonso Mudarra (1510 – 1580) is subtitled ‘Fantasia que contrhaza la harpa en la manera de Ludovico’. This is translated as ‘fantasia which imitates the harp in the manner of Ludovico’
Ludovico was a well-known virtuoso harpist of the era. This is an extraordinary piece. It contains, in addition to the obvious and highly effective, campanella, harp-like effects, syncopation, dissonance and a wry sense of humour. Mudarra states on the score: ‘from here to the end there are some wrong notes – but, if you play them well they will sound fine.’
The piece was originally composed for the vihuela, the Spanish equivalent of the lute and an instrument which was widely popular in Spain during the 1500s.


On this recording I use three different guitars. They are: a Miguel Rodriguez ‘churchdoor’ 1976, a Miguel Rodriguez 1980 and a Manuel Reyes flamenco 1963.


Robin Hill

Special thanks to:

Nick McCloud for his invaluable computer expertise.
Chris Hughes of Oscillate Studios for his great work mixing and mastering this recording.
Ray Kennan (of Bingley) for his constant enthusiasm.
Pip and David for their support and enthusiasm.
Pugwash the studio dog for her high fidelity.
My sons, Felix and Oliver, for enduring, and constantly living with, the recording process.
My wife , Anna, for her keen ears, cold nose, opinions and support.

Biography.

Robin Hill was born in Yorkshire, England. His first instrument, at age seven, was the violin. At 10 he started to play the guitar, which he studied at music college and later participated in master classes with the eminent Venezuelan guitarist, Alirio Diaz.
In the early 1970s Robin met fellow guitarist, Peter Wiltschinsky and, together, in 1973, they formed the Hill/Wiltschinsky Guitar Duo, a highly successful partnership with a large archive of recordings (they recorded for Teldec Classics, Hyperion (debut album), ASV, RCA, Erato, Telstar, IMP Classics, Carlton Classics, Warner Bros. and many more. The duo have made numerous radio and television broadcasts and have toured extensively worldwide.
In 1997, Robin performed Joaquin Rodrigo's 'Concierto de Aranjuez' with the Royal Liverpool Philharmonic Orchestra (under Carl Davis) to an audience of three thousand. The same year Robin also gave the premiere of his own 'Concerto Primavera' with the same orchestra under the conductor, Ian Tracey. He has to date composed four other concertos - three for guitar and one for piano.
Robin gave the UK premiere of Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio', a work he has also recorded with his quartet, Eklectica.
Robin has collaborated with artists as diverse as Luciano Pavarotti, soprano Lesley Garrett, tenor Russell Watson, American soprano Denise Greaves (at the Royal Albert Hall with the BBC Philharmonic) to British rock bands Deep Purple and Jethro Tull and he has toured extensively with the American jazz/soul singer, Madeline Bell.
His book 'The Guitar Gymnasium' is used in conservatories throughout the world.
Robin's musical travels constantly take him all over the world.

'As always it was a great pleasure to observe Robin Hill's remarkable fluent technique. Everything looks easy when he plays it.' Colin Cooper – Classical Guitar Magazine UK

'Charismatic – a world class performance!' St Louis Dispatch - USA

'Daunting technique' Acoustic Guitar magazine - USA

'Wonderful for precision, touch and virtuosity, the result of a long interpretive process.' Il Giornale D'Italia - Italy

House Concerts with Robin Hill

Isn't it strange how trends ebb and flow over hundreds of years?
Here I am about to discuss a phenomena that has taken America by storm and is beginning to make waves here in the UK.

A house concert is literally that.
A concert in your own home.
You don't even need a particularly large space as the whole point is to create an intimate environment in which to enjoy live music.
Think miniature Carnegie or Wigmore Hall in your own living room.

Generally these are private events and all that is needed is a reasonably sized group of friends to share the experience with you.

But in the area of classical music, this is certainly nothing new.
Musicians toured, performing at peoples homes as a matter of course, through the 16th/17th/18th and 19th Centuries.
Frequently they would compose a piece of music specifically for their host or patron, sometimes to celebrate a particular event.
For example, John Dowland's, 'The Earl of Essex Galliard' and 'Mrs Vaux's Gigge'.

Whilst lutenists may have paved the way, the guitar is ideally suited to concerts in intimate environments where it can be heard at its unamplified best.

Robin is used to performing concerts in a variety of settings.
From major venues with audiences in the thousands, (I think the largest being with Pavarotti were there were 25 000, and 3 500 for a performance of Rodrigo's Concierto de Aranjuez with the Liverpool Philharmonic, and I don't know how many when he played the James Bond theme at the Proms in the Park, London!).
Or T.V. shows beamed to 6 million viewers (admittedly he couldn't see them all but he knew they were there...), to average sized smaller venues of a couple of hundred people.

But Robin, like many musicians, actually enjoys performing in smaller settings.
To be able to see the audience, (stage lights usually mean you can't make out any details past the first few rows), and receive immediate feedback, is very rewarding.
Robin has actually frequently performed what are now called, 'House Concerts'. Often they have been associated with events, an example being a surprise birthday party for a lifelong guitar enthusiast and maker.
You can imagine how pleased he was to find Robin in his lounge, right in front of him, and to have the chance to speak to him between pieces!

So now you can take advantage of the centuries old tradition of holding your very own House Concert.
For anyone with an interest in music, the guitar in particular, the opportunity to observe a performance in such close proximity, and have the chance to talk to Robin about technique, hand positions, scales and arpeggios, the price of fish.. whatever you like really, would be highly enjoyable for both parties.

Neither does it matter where you live.
Robin performs all over the world as it is.
We would simply tie it in with his schedule, or even promote a tour simply for house concerts in your area/country.
All you have to do is contact me to discuss availability, length of concert required etc. I should also point out that it won't cost the host house anything! All will be explained when you contact me.
It really is that simple. Steve Lawson (solobasssteve), has recently toured the US, organising many of his house concerts through twitter whilst en route!

So contact me, in whatever format you prefer....
Give it a try and be the envy of your friends!

Latest Batch of Unusual Google Searches

I have decided to share a few more unusual google searches with you today.
This time, for your added entertainment, I have also shown the page on which the unknown searcher landed.
For some there is an obvious connection, others are little more obscure, but that's the nature of Google!
The 'search', in bold, is exactly as I found it.

Here goes:

1) "What was with President Bush's eyebrows last night?"

Now, I don't know what President Bush had been doing with his eyebrows that prompted this search, but here is the page they read:
'Concert Comments and George Bush's Eyebrows'

2) "Possessed by a musician"

Are they possessed by a musician or do they want to be? Who knows.
'John Dowland and a Man Possessed'

3) "Boho Dance and Consumption"

This found a post from back in 2007 which mentions the fabulous Joni Mitchell:
'Robin Hill's 'Unofficial' Desert Island Discs'

4) "Bob Dylan's trousers"

I have no idea why someone was interested in Bob Dylan's trousers but this is the page they read:
'Bob Dylan, BBC Radio 2 and the 'Wrong Trousers'

5) "The Robin Hill flower of Congo"

As the name Robin Hill actually featured in the search it isn't that surprising the visitor arrived at this blog. But here's where they landed:
'From Romanian Gipsy Music to a Latin American Wedding'

6) "Brazilian rosewood fined jailed arrested"

Although guitars can be made from Brazilian rosewood I don't think that's what they were looking up, nor do I think they expected this:
'Concert, Corruption and Recording Company Chaos'

7) "Light on a Turkish Hill"

Strange but true!
'The Clairvoyant Rabbit and the Turkish Shoeshine Scandal'

8) "Felt poodle tea cosy"

I'm assuming somebody somewhere has the desire to purchase a tea cosy in the shape of a poodle...
'Cosi Fan Tutte'

and finally for today,

9) "How many hours from Alicante to Malta by aeroplane?"

Whilst not actually answering the question I hope this visitor enjoyed the story anyway!
'Coffee in Alicante'

One thing that has become apparent whilst preparing this post is the fact that I seem to have come up with some rather strange titles over the years. No wonder Google keep sending people our way.

Track 2 - 'Arrival' and John Johnson

The second track on 'Arrival' is 'La Vecchia Pavane and Galliard', by John Johnson (1540-1595).

A Pavane is a Court dance of the 16th and early 17th century, which is usually sedate, and often an introduction for a processional dance.
The pavane consists of two single steps and one double step forward, followed by two single steps and one double step backwards. It's played in duple time, 2 or 4 beats to the bar.

The Galliard is much livelier, a triple-metre dance, usually with regular phrase structures of 8, 12, or 16 bars, with a step-pattern of five movements taken to six minims, which is similar to that of the salterello, except that the steps are higher and more vigorously executed.

As you listen to these pieces, you can easily imagine the ladies and gentlemen of the Elizabethan Court enjoying the music and joining in, starting with the slow Pavane and moving on to the more energetic Galliard.
'La Vecchia' simply means old.

At this time it was common for lutenists to undertake the position of an apprentice within a noble house, often from a very early age.
This was an essential process for any musician of 'low birth' to make contacts with the wealthy aristocracy, which would then allow them access to the Royal Courts.
The modern day equivalent would presumably be blogs, MySpace, Twitter, and the like, the modern way of networking.

Whilst records are difficult to trace, it is thought that Johnson would have undertaken an apprentice position in a noble house, likely to be that of the Earl of Leicester.
His skill as a lutenist didn't go unnoticed though, and by 1577 he had entered the Royal services of Her Majesty's Musicians for the three lutes, along with Mathias Mason and Thomas Cardell. The number rising to six or seven lutenists as the popularity of the instrument increased.

John Johnson is regarded as the founder of the school of English lute music of the 'Golden Age', which culminated in the works of John Dowland.
Johnson's playing must have been exceptional, and it is believed that he was Queen Elizabeth I favourite lutenist, but his importance also lies within the huge body of works available today.
His manuscripts have been found all over Europe even though it's thought that Johnson never left England, a feat only matched, and exceeded, by John Dowland himself.

The musical tradition continued with his son, Robert Johnson (1582-1633), also a lutenist, but he was connected with Elizabethan Acting Troupes, working with playwrights such as William Shakespeare, Beaumont and Fletcher.

So, 'La Vecchia Pavane and Galliard' is steeped in the lute tradition, although Johnson developed the lute duet to an unprecedented level of technical and musical excellence. With complete equality of parts being one of the striking features of Johnson's work.
Johnson was certainly more prolific than any of his English contemporaries, and 'La Vecchia Pavane and Galliard' together make a fine example of the conversational style of the Elizabethan lute duet.

The guitar repertoire is greatly enriched by the assimilation of the lute's vast body of works, in this recording the guitars are played with capos at the third fret to create a more lute-like sonority.

Manuel de Falla's, 'Miller's Dance', and the Solar System.

I did get to speak to Robin last night, just prior to his concert, and asked what he was doing.
"Practising the Miller's Dance, what are you doing?"
"Oh, making a mobile of the solar system, with son number two."
"That's nice."
I didn't think he was really concentrating, so left him to his Falla, and went back to recreating the universe.

However, we did get to talk again after the concert, and it all went very well.
I'd known Robin had been apprehensive about performing Manuel de Falla's, 'Miller's Dance', from 'The Three Cornered Hat'.
For many years he has performed the piece with the Hill/Wiltschinsky Guitar Duo, and it has always been hugely popular.
So, when he decided to add it to his solo repertoire, I was looking forward to hearing the end result.
The problem was he couldn't find a suitable arrangement of it anywhere.
So he did one himself.

This was the first time Robin has performed the solo version in public, and it's always a different experience to practising it alone in your music room.
He needn't have worried though, it went very well, and the audience loved it.

Amongst other things, he also played his own 'Fiesta de Xabia', 'Two Dances' by John Dowland, Two pieces for Viheula ('Guardame Las Vacas' - Luis de Narvaez, 'Fantasia' -Alonso Mudarra), 'And I Love Her' - Paul McCartney, 'Una Limosna par el Amor de Dios' - Agustin Barrios, some Villa-Lobos and Pernambuco.

A nice programme, shame I wasn't there to hear it.
Today he should be in Grand Turk, even bigger shame I'm not there to see that, I'm awaiting further news here in the cold.

Dowland and Dickens

We have now reached Friday and John Dowland continues to ring through the house. At least we have progressed from one or two bars to the entire piece.
I'm still at the stage of enjoying it, which is a relief, but then, I haven't actually been around much to hear it...

As far as the recording in the music room goes, it hasn't been the children that are the problem, but me.
Why is it that when you really try to do something quietly it just doesn't happen?
There I was walking past the room, or rather creeping, (I can tell the difference between practice and recording sounds coming from the room) when I dropped the 'phone and there was a dreadful clattering sound followed by silence from the music room.
The music just stopped.
The silence more deafening and menacing than any noise, so I beat a hasty retreat.
Only to find the same 'phone rang a total of three times in the next 20 minutes....

I think at this point Robin realised that he may have to revert to plan A and move the equipment back upstairs.
Phew.....

Meanwhile we have allowed ourselves some time to relax and have been thoroughly enjoying the BBC adaption of 'Oliver Twist'.
We have been so surprised to read a couple of highly critical reviews. As far as we are concerned the casting is excellent, with all the characters truly convincing.
The filming is beautifully done and one of its greatest strengths is the squalor, filth and general dinginess of Fagin's place, in contrast to the opulent radiance of Mr.Brownlow's Georgian town house.
The music also works very well, who would have thought of using an accordion and banjo, together, in a Dicken's drama?
The reason I'm mentioning it is that I feel it is easy to be critical, yet difficult to achieve such high standards, and in our opinion, the story has been vividly realised and is a welcome change to the mind numbing drivel that is usually on T.V.

We are also in the process of preparing a Christmas treat for you all, so, watch this space.

John Dowland and a Man Possessed

Robin has become a man possessed.
He has re-found the music for a beautiful piece by John Dowland (1563-1626), 'Sir Henry Gifford's Almaine'.

The piece itself is superb, inspired, and has some very difficult acrobatic work, for the left hand in particular.
Anyone who can conceive of such a piece must have been an outstanding player.

Dowland was a contemporary of Shakespeare, and you can get a real sense of the times whist listening to it.

Some of the ideas in the variations on the theme are very adventurous harmonically, and would have originally been played on the lute.
To achieve a similar effect, Robin plays with a capo at the third fret.

When I say possessed, I do mean possessed.
I can't walk past the music room without him calling out, "Come and listen to this bit", and as I try to sidle past unnoticed, he adds, "I know you're there".

This is what happens to a musician when they fall in love with a piece of music all over again.
Every note is analysed, and a process of interpreting the music commences.
Then there's the fingering.
"Does this sound better, or this?"

Many hours are given over to finding the most economical positioning to enable the piece to flow smoothly.

Meanwhile, the rest of us in the house, have a crash course in Dowland and all things connected.
But that's OK, it's all very interesting, and luckily I love the music of Dowland.
Ask me again by the end of the week though, when I've heard the same piece for 3 days, and none of the pre-Christmas jobs have been dealt with as Dowland has intervened....

Great Expectations of John Dowland

Last night Robin went to the theatre on board the QM2, to watch a performance of, 'Great Expectations' by Charles Dickens.
The entire novel had been condensed into a 53 minute long stage version, and the actors, all from RADA, gave first class performances.
He was able to tell some of the cast what a good job they had done when he saw them later in the evening.

Whilst out, Robin was approached by a passenger, that had enjoyed his first guitar concert, and, wanted to know when the next one was.
He informed him that it is on Thursday, (not Friday as I mentioned the other day...oops!), and they got talking.
The passenger was keen to know what was on the programme.
So Robin mentioned a few names, and when he got to John Dowland, the gentleman became very enthusiastic.
They chatted some more before they went their separate ways.

It was only at this point that Robin realised there wasn't actually any Dowland in the second programme...
He went back to his room, had a rethink, and shuffled the programme around so that he could include John Dowland's 'Melancholy Galliard', and, 'Allermande'.

The passenger will probably never know that a chance meeting, and his passion for Dowland, prompted an entire re-write of the programme!