Notes on a Recorder to Notes on a Scandal

Robin has been consumed by composition.
Not for the guitar, or, the piano.
Not for a band or electric guitar.
But for the recorder.

Son number one innocently remarked that he may like to play 'Over the Sea to Skye', in the school concert, with his friend.
"I'll do an arrangement for you then", was Robin's reply.

Two hours later we had a fantastic arrangement, and a 'Von Trapp' family moment, as we played through the piece.
As we only had one descant recorder in the house I had to dig out my old tenor recorder and we were then able to play through the piece.

Robin wasn't satisfied so off he went again to make some alterations.
By the time he reappeared the piece had now gained triangle and sleigh bells....
Son number one was beginning to look very worried.

Who knows what the outcome will be...

Meanwhile, while Robin went back to his music, I read an interesting and detailed account of the Joyce Hatto fiasco, by Mark Singer.
You can read Singer's, 'Notes on a scandal' here.

Joyce Hatto and Other Musicians

I read a few interesting points made by A.C.Douglas over on Sounds and Fury about the pianists whose recordings were used on the Hatto CDs and their apparent inability to recognise their own work.

There may be other factors in play.
A lot of musicians don't actually like listening to their own recordings after the last take has been made. In an interview, Paco de Lucia once said, that he 'never listens to his music after recording it as he would always hear things he would like to change'.
If that is the case for the pianists, then they may well not have identified the Hatto 'version' as their own, as they certainly wouldn't have been expecting to hear themselves.
To highlight the point, Robin was once staying at his parents' house, enjoying a relaxing bath whilst they had the radio on in another room.
In the distance he heard 'Canarios' by Gasper Sanz and thought, 'That sounds great'.
Next came J.S.Bach's 'Gavotte' from the 4th Lute Suite followed by 'Bach Prelude in D Minor'. All of which he enjoyed and decided he really must work on those pieces if he was to attain the standard of performance of whoever had made this particular recording.
It was then announced that they had all been performed by Robin Hill! Robin nearly swallowed the loofah at this point...
He had previously recorded an album for the BBC library which was regularly played on Radio 3 and 4. At the time he didn't have a copy, so hadn't heard it since it had been recorded some years earlier.
He was, of course, delighted, but it does show that a musician may not always identify their own performance - until told...

Joyce Hatto May Result in a Brighter Future

I, like most people involved in the world of classical music, continue to follow the Joyce Hatto saga.
Today in 'The Daily Telegraph' there was a small piece about her husband William Barrington-Coupe and how he has previously been convicted, and jailed, for tax evasion.
This was way back in 1966 and whilst I don't feel we should let 'old' crimes cloud our judgement, inevitably it forms opinions.
Barrington-Coupe has now withdrawn the sale of the CDs, but has said, 'It has nothing to do with any recognition of guilt ...'
Whatever the outcome of this particular case there are bound to be repercussions. Record companies are already looking into the claims that their works were pirated.
As I said before, we know all about that.
Two tracks, that have been widely distributed, composed and performed by Hill/Wiltschinsky but credited to another artist, are still available.
The company has acknowledged their mistake but not actually done anything about it.
Artists themselves are often way down the list in the pecking order which is preposterous.
Maybe this whole affair will give the industry the shake up it needs.
They would after all be nothing without the performers.

Test Drive a Microphone With Legnani

It has been an experimental day and one in which I have been acting as an unofficial sound engineer.
We have been sent a matched pair of microphones to try out. So, off Robin went to the studio, to see what he could do.
He played Caprice No 33 by Luigi Legnani over a few times, and then went for a take, and another one, and another one, etc. (Incidentally, Legnani was Paganini's guitarist).
We played them back and as yet haven't made a decision.
At one point I asked him to play along with the freshly made recording so I could compare sounds.
As I was listening it struck me that if Robin was having difficulty matching his playing exactly, whilst watching the sound waves on the monitor, then it would be virtually impossible for someone else to try and mimic that performance. Yes I am referring to the Joyce Hatto scenario.
The fate of the microphones hasn't yet been decided, although I suspect they are not the ones.