A few days ago Robin broke his right wrist.
Treacherous ice was the culprit, and I'm sure there have been many casualties across Europe in the last few weeks.
Whilst there is no good time for such an incident, this couldn't have happened at a worse time for us.
A new album out, (you can see Robin's site for details), and a 2 week trip with concerts promoting 'Standing on Air', had to be cancelled.
But how does all this effect a musician?
After all, they dedicate their life to making music and suddenly the very essence of their being is removed.
This might sound dramatic, but read on...
I have written before about the pressure that soloists are under.
This post, 'Alicia de Larrocha, the Ritual Fire Dance and a Maths Exam,' springs to mind.
The fabulous pianist once admitted in an interview that prior to a concert she was so scared she hoped for an earthquake so the performance couldn't go ahead. Yet an audience watching her play with such confidence would have found this hard to imagine.
The fact remains that the need for the best possible performance at all times is a weighty responsibility.
So what happens when a concert performer suddenly finds they can't play?
The amazing Paco de Lucia once sustained a horrific hand injury with a fishing harpoon.
It has been reported that for the first 48 hours he simply had a sense of relief. The pressure had been removed as there was no way he could play.
However, after 48 hours fear and frustration started to creep in as he wondered if he would ever play again.
Thankfully for us all, he made a full recovery and continues to perform and record.
The guitarist and lutenist Julian Bream also suffered a badly fractured elbow in a car accident many years ago which required several months of rehabilitation but he went on to make a full recovery.
Gypsy guitarist, Django Reinhardt, famously damaged two of his left hand fingers (third & fourth) in a fire.
He then went on to play with fingers one and two with greater facility than many other guitarists ever achieve.
Thus turning the tables on adversity.
Some are not so lucky.
The Austrian concert pianist Paul Wittgenstein lost his right arm during World War 1. Such was his desire to still perform, Wittgenstein commissioned Ravel to compose a, 'Piano Concerto for the Left Hand'.
This piece continues to be performed to this day, by two handed pianists.
Robin's injury is not as severe as any of these mentioned.
He has a fracture of the Radius and requires a few weeks in a brace.
But, the temporary consequences are that he cannot play his guitar.
So, how did he feel about this?
Initially the fear was intense.
He was very quickly seen by an orthopaedic specialist and taken to hospital for an x-ray and MRI scan.
Luckily for us, the specialist, Professor Funk, is a friend of ours.
Even luckier for us, he is well used to dealing with musicians and athletes who perform at the highest level.
Consequently, although Robin's initial x-ray didn't show a fracture, the Professor wasn't satisfied with this and requested an MRI scan.
After 20 minutes in an extremely noisy machine, forced to lie on his front with arm outstretched in a Superman position, the fracture was located.
So many thanks to Prof. Funk for his diligence and also the Bridgewater Hospital for finding a slot in their very busy schedule.
But where are we up to now, a few days down the line?
Well, like Paco de Lucia, Robin did have pretty much 48 hours where he seemed relieved.
The constant pull of the guitar had simply been removed.
Since the age of 10 he has never not played the guitar.
He was also jovial, positive about the long term and optimistic about the length of time without playing.
But now...72 hours later, I see a change.
He has started saying he is missing playing.
He is talking about supporting the guitar with his right elbow so he can at least maintain his left hand exercises.
This is not a bad idea.
To play any instrument at concert level requires many hours of practice each day.
Often people don't realise this and I usually liken it to an Olympic athlete. Nobody would expect them to turn up on the day without months and years of preparation.
It's the same for musicians.
Then there is practicing in his head.
This is actually something Robin does anyway, usually to help pass long haul flights, and to help cement new pieces to memory.
Now this has taken on a different sense of urgency as he 'hears' the music in his head and 'feels' the notes under his currently redundant fingers.
This may all sound rather dramatic but one has to remember that for Robin, and all other concert performers, music is not only their life but also their living.
It is however a good time to take stock and get on with projects that are usually left unattended due to constant travel.
So, watch this space for further developments...
Showing posts with label Julian Bream. Show all posts
Showing posts with label Julian Bream. Show all posts
Sunday, February 12, 2012
Thursday, June 25, 2009
To Eat or Not To Eat - Before A Concert
The other day I had an idle thought which I put to my Twitter followers.
Basically I was interested in the eating habits of the musicians amongst them.
The tweet said,
"To the musicians out there. Do you like to eat before a performance or do you prefer to wait until afterwards?"
I was very pleased when I received replies from soprano/pianist Barbara Rathbone, classical musician Jamie Pullman and oboe/English horn player, Patty Mitchell.
I have written before about musicians requirements in preparation of a concert.
Here's an example, 'Sex, Drugs and Classical Music', and another, 'Nigel Kennedy - Running on Pure Adrenaline'.
But this related more to the use of Beta Blockers, not the daily requirement of food.
However I have also discussed Robin's needs pre concert here, with, 'Bananas on the High Seas and Bottom E', and 'From, Fish - Brain Food for Musicians, to Oscar Peterson, to Elgar.'
Robin always eats before a performance, whether it is classical, or with a band. But there is a difference. When playing with a band he just feels better if he has eaten, but if performing a classical concert, he needs to.
I believe this is something to do with not only the increased pressure he feels when playing classical concerts, but also, the level of concentration that is required of him.
He's not alone in this.
The renowned guitarist, Julian Bream, has said that he always has a plentiful supply of sandwiches backstage to eat before his concert.
But you do have to watch these musicians.
There's an amusing anecdote around Handel and his dietary requirements.
He was frequently known, when entertaining guests, to suddenly announce he had a musical idea, and to leave the room.
The 'idea' was simply that he kept his high quality wine in his music room, whilst serving a cheaper version to his guests, and had simply 'nipped' out for a quick drink...
Whether or not the great man ate before a concert is not known but I would be extremely surprised if he didn't!
Getting back to the results of this highly unscientific research, well, the results were mixed.
Barbara, a singer, always eats after a performance as she finds eating before affects here voice. When I asked about the energy required to perform, she acknowledged it was adrenaline that got her through.
This is completely understandable. A singers needs are very different to other instruments.
The orchestral player Jamie Pullman had a different approach. If performing with the orchestra he ate before, but if with his quartet, then afterwards.
The increased exposure, and therefore pressure, of the quartet performance appears to alter his needs. Although he did add that he found it easier to concentrate on the music if he was 'uncomfortable' due to being hungry.
Patty Mitchell, another orchestral player, always eats before a performance, although only a small amount. I assume this is provide just the required amount of energy without causing discomfort.
It seems, as you would expect, that every musician has their own way of dealing with the question of whether to eat before or after a performance.
It also appears that nerves/stress, the need to focus on the job in hand, and the ability to concentrate all play a part.
From observing Robin perform over many years I know the amount of energy he expends when on stage. Yes, when you watch a programme about classical musicians and see them sweating away under the bright lights, it's all true, not just sprayed on for effect.
But there was one aspect to all this that struck me.
Only 'classical' musicians amongst my twitter followers responded to the question.
Initially I had addressed it to all musicians.
There could be many reasons for this.
They may not have been 'watching' at the time the tweet was posted, they could have been busy doing other things rather than replying to a random tweet from me, or they simply may not have felt the issue was important to them for their particular style of playing.
This in itself raises more questions so I would love to hear from musicians from all walks of life to hear their views.
Basically I was interested in the eating habits of the musicians amongst them.
The tweet said,
"To the musicians out there. Do you like to eat before a performance or do you prefer to wait until afterwards?"
I was very pleased when I received replies from soprano/pianist Barbara Rathbone, classical musician Jamie Pullman and oboe/English horn player, Patty Mitchell.
I have written before about musicians requirements in preparation of a concert.
Here's an example, 'Sex, Drugs and Classical Music', and another, 'Nigel Kennedy - Running on Pure Adrenaline'.
But this related more to the use of Beta Blockers, not the daily requirement of food.
However I have also discussed Robin's needs pre concert here, with, 'Bananas on the High Seas and Bottom E', and 'From, Fish - Brain Food for Musicians, to Oscar Peterson, to Elgar.'
Robin always eats before a performance, whether it is classical, or with a band. But there is a difference. When playing with a band he just feels better if he has eaten, but if performing a classical concert, he needs to.
I believe this is something to do with not only the increased pressure he feels when playing classical concerts, but also, the level of concentration that is required of him.
He's not alone in this.
The renowned guitarist, Julian Bream, has said that he always has a plentiful supply of sandwiches backstage to eat before his concert.
But you do have to watch these musicians.
There's an amusing anecdote around Handel and his dietary requirements.
He was frequently known, when entertaining guests, to suddenly announce he had a musical idea, and to leave the room.
The 'idea' was simply that he kept his high quality wine in his music room, whilst serving a cheaper version to his guests, and had simply 'nipped' out for a quick drink...
Whether or not the great man ate before a concert is not known but I would be extremely surprised if he didn't!
Getting back to the results of this highly unscientific research, well, the results were mixed.
Barbara, a singer, always eats after a performance as she finds eating before affects here voice. When I asked about the energy required to perform, she acknowledged it was adrenaline that got her through.
This is completely understandable. A singers needs are very different to other instruments.
The orchestral player Jamie Pullman had a different approach. If performing with the orchestra he ate before, but if with his quartet, then afterwards.
The increased exposure, and therefore pressure, of the quartet performance appears to alter his needs. Although he did add that he found it easier to concentrate on the music if he was 'uncomfortable' due to being hungry.
Patty Mitchell, another orchestral player, always eats before a performance, although only a small amount. I assume this is provide just the required amount of energy without causing discomfort.
It seems, as you would expect, that every musician has their own way of dealing with the question of whether to eat before or after a performance.
It also appears that nerves/stress, the need to focus on the job in hand, and the ability to concentrate all play a part.
From observing Robin perform over many years I know the amount of energy he expends when on stage. Yes, when you watch a programme about classical musicians and see them sweating away under the bright lights, it's all true, not just sprayed on for effect.
But there was one aspect to all this that struck me.
Only 'classical' musicians amongst my twitter followers responded to the question.
Initially I had addressed it to all musicians.
There could be many reasons for this.
They may not have been 'watching' at the time the tweet was posted, they could have been busy doing other things rather than replying to a random tweet from me, or they simply may not have felt the issue was important to them for their particular style of playing.
This in itself raises more questions so I would love to hear from musicians from all walks of life to hear their views.
Wednesday, September 03, 2008
Naked Wife and Everest...
Since I last posted, Robin has been to many places, and carried out the first of his two concerts on the Queen Victoria.
This took place on Sunday whilst cruising the Ionian Sea and all went very well.
There was a good, and extremely appreciative audience, many of whom have been passing on some very nice comments.
This is all very helpful for Robin.
Now he is in his 4th week away from home he is rather travel weary, so to know that your music has been appreciated really makes a great difference.
Since the concert he has been to Aghios (Crete), Izmir (Turkey), and today, Athens (Greece).
So whilst Robin called me from one sunny destination after another, I escaped the rain, by checking out the latest Google searches.
I must say there have been some particularly amusing ones recently.
Here are a few:
'My wife nude on the QM2' - I really would like to know more about this one. I assure you that Robin was in no way involved with this incident, but as he will be joining the QM2 very soon, I shall ask him to investigate!
'Julian Bream's wife' - Sorry, you got the wrong guitarist.
'Robin Hill private bank' - I wish....
'Plastic making machine of Robin' - We've had lots of merchandise over the years but I'm pretty sure we have never made plastic Robin figures.
'Robin Hill jean weeks' - Neither do we have a line of designer jeans.
'Robin Hill and Everest' - Yes, Robin has travelled to most parts of the globe, but he has never performed a concert on Everest. Now there's a thought...
'Downside to being a musician' - If you're even asking that question then music isn't for you...
'Can musicians have children' - err, yes. We have living proof on that one.
'Robin's dark side' - I didn't know he had one.
So there we are, just a few randomly selected and quirky Google searches that have amused me recently.
Meanwhile, back out at sea, Robin performs his last concert of this trip tomorrow. So he has been rehearsing all day in preparation.
At least he won't be suffering with cold hands in the Mediterranean climate.
On second thoughts, maybe Everest isn't such a good idea.
This took place on Sunday whilst cruising the Ionian Sea and all went very well.
There was a good, and extremely appreciative audience, many of whom have been passing on some very nice comments.
This is all very helpful for Robin.
Now he is in his 4th week away from home he is rather travel weary, so to know that your music has been appreciated really makes a great difference.
Since the concert he has been to Aghios (Crete), Izmir (Turkey), and today, Athens (Greece).
So whilst Robin called me from one sunny destination after another, I escaped the rain, by checking out the latest Google searches.
I must say there have been some particularly amusing ones recently.
Here are a few:
'My wife nude on the QM2' - I really would like to know more about this one. I assure you that Robin was in no way involved with this incident, but as he will be joining the QM2 very soon, I shall ask him to investigate!
'Julian Bream's wife' - Sorry, you got the wrong guitarist.
'Robin Hill private bank' - I wish....
'Plastic making machine of Robin' - We've had lots of merchandise over the years but I'm pretty sure we have never made plastic Robin figures.
'Robin Hill jean weeks' - Neither do we have a line of designer jeans.
'Robin Hill and Everest' - Yes, Robin has travelled to most parts of the globe, but he has never performed a concert on Everest. Now there's a thought...
'Downside to being a musician' - If you're even asking that question then music isn't for you...
'Can musicians have children' - err, yes. We have living proof on that one.
'Robin's dark side' - I didn't know he had one.
So there we are, just a few randomly selected and quirky Google searches that have amused me recently.
Meanwhile, back out at sea, Robin performs his last concert of this trip tomorrow. So he has been rehearsing all day in preparation.
At least he won't be suffering with cold hands in the Mediterranean climate.
On second thoughts, maybe Everest isn't such a good idea.
Wednesday, January 23, 2008
William Walton, Julian Bream and the Paraguayan Harpist
A worried man pre-concert:
Relieved and rehydrating post concert:
Robin continues to receive positive feedback after his final concert, and, consequently meets some interesting people.
One enthusiastic lady introduced herself as, 'a Misionera', which is a girl from Misionera, in Argentina. This was prompted by Robin performing Federico Bustamente's 'Misionera', in the concert.
He has also spent some time talking to a Paraguayan harpist, and they whiled away many hours discussing the virtues of South American music and Barrios in particular, along with comparing their nails and various treatments....
The harpist had an interesting tale, he once met William Walton and Julian Bream in a restaurant on the Mediterranean island of Ischia. Walton had by this time moved there from Oldham, a very wise choice I'm sure.
The three talked for some time, and Julian Bream gave him his latest CD which contained, amongst other things, Walton's Bagatelles.
Robin later went out to dinner with a ventriloquist and I imagine they enjoyed a few 'gottles of geer'.
Relieved and rehydrating post concert:
Robin continues to receive positive feedback after his final concert, and, consequently meets some interesting people.
One enthusiastic lady introduced herself as, 'a Misionera', which is a girl from Misionera, in Argentina. This was prompted by Robin performing Federico Bustamente's 'Misionera', in the concert.
He has also spent some time talking to a Paraguayan harpist, and they whiled away many hours discussing the virtues of South American music and Barrios in particular, along with comparing their nails and various treatments....
The harpist had an interesting tale, he once met William Walton and Julian Bream in a restaurant on the Mediterranean island of Ischia. Walton had by this time moved there from Oldham, a very wise choice I'm sure.
The three talked for some time, and Julian Bream gave him his latest CD which contained, amongst other things, Walton's Bagatelles.
Robin later went out to dinner with a ventriloquist and I imagine they enjoyed a few 'gottles of geer'.
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, November 04, 2007
Robin Hill's Sunday Morning iPod Shuffle
What a beautiful morning it was here today.
As soon as we opened the curtains the sun streamed in and revealed a perfect Autumn day.
Robin's first words were:
"Season of mists and mellow fruitfulness'
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;"
He was of course quoting John Keats, 'Ode to Autumn', if you want to read the whole thing, it's here.
As I've said before, Sunday morning is a time to relax in our house.
We usually put the iPod on shuffle and see what happens.
Here's today's offering:
1) Santana
'No One to Depend On' from Santana lll (1971)
2) John McLaughlin
'The Way of the Pilgrim' with the Mahavishnu Orchestra.
3) Daniel Barenboim
Prelude from, 'The Well Tempered Clavier' by J.S.Bach
4) Spiderpig Theme Song
From 'The Simpsons Movie'. (caused much delight from sons numbers one and two....)
5) Joni Mitchell
'The Boho Dance' from 'The Hissing of Summer Lawn' (1975)
6) Andres Segovia
John Dowland - Song and Galliard
7) John McLaughlin (again!)
'Face to Face' from 'Natural Elements' (1977) Shakti
8) Julian Bream
Julian Bream and Peter Peers, 'What then is love', an Elizabethan song.
9) Pepe Romero
Pepe Romero with the 'Academy of St.Martin in the Field', Boccherini Guitar Quintet No.6 in G Major.
10) Jascha Heifetz
Tchaikovsky: Violin Concero: Canzonetta in D Major.
Just when we thought we had better get on with our day, the next item called up on the iPod was, 'Robin Hill's Eklectica: Claude Bolling's Concerto for Classic Guitar and Jazz Piano Trio, 3rd movement, 'Invention'.
What a fantastic way to start the day.
As soon as we opened the curtains the sun streamed in and revealed a perfect Autumn day.
Robin's first words were:
"Season of mists and mellow fruitfulness'
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch-eaves run;"
He was of course quoting John Keats, 'Ode to Autumn', if you want to read the whole thing, it's here.
As I've said before, Sunday morning is a time to relax in our house.
We usually put the iPod on shuffle and see what happens.
Here's today's offering:
1) Santana
'No One to Depend On' from Santana lll (1971)
2) John McLaughlin
'The Way of the Pilgrim' with the Mahavishnu Orchestra.
3) Daniel Barenboim
Prelude from, 'The Well Tempered Clavier' by J.S.Bach
4) Spiderpig Theme Song
From 'The Simpsons Movie'. (caused much delight from sons numbers one and two....)
5) Joni Mitchell
'The Boho Dance' from 'The Hissing of Summer Lawn' (1975)
6) Andres Segovia
John Dowland - Song and Galliard
7) John McLaughlin (again!)
'Face to Face' from 'Natural Elements' (1977) Shakti
8) Julian Bream
Julian Bream and Peter Peers, 'What then is love', an Elizabethan song.
9) Pepe Romero
Pepe Romero with the 'Academy of St.Martin in the Field', Boccherini Guitar Quintet No.6 in G Major.
10) Jascha Heifetz
Tchaikovsky: Violin Concero: Canzonetta in D Major.
Just when we thought we had better get on with our day, the next item called up on the iPod was, 'Robin Hill's Eklectica: Claude Bolling's Concerto for Classic Guitar and Jazz Piano Trio, 3rd movement, 'Invention'.
What a fantastic way to start the day.
Thursday, March 29, 2007
Happy Birthday - Sir William Walton
After Elgar's removal from banknotes here in the UK, I thought I'd better make a stand for another great English composer, Sir William Walton, especially as it would have been his birthday today.
Walton was born in Oldham, Lancashire, but lived the later years of his life on the Mediterranean Island of Ischia. I can't say I blame him, Lancashire is known for its wet weather, which is why there used to be a huge cotton industry here. Sorry Oldham, but I think Ischia would win every time.
In the 1920's and 30's Walton was considered the most important English composer of his generation.
In 1970/1 he composed 'Five Bagatelles for Solo Guitar', as a 50th birthday present for Malcolm Arnold which were dedicated to the guitarist Julian Bream.
In fact Walton was so pleased with the Bagatelles that in 1972 he composed 'Varii Capricci for Orchestra' based on them, which was one of the last pieces he wrote before his death in 1983. (He did actually rewrite the final movement in 1977).
So Happy Birthday Walton.
Meanwhile, Robin has been working hard on finalising two programmes for next week, so the music room door has been firmly shut whilst he prepares. He did emerge to take the dogs for a walk in the Lancashire drizzle though...
Walton was born in Oldham, Lancashire, but lived the later years of his life on the Mediterranean Island of Ischia. I can't say I blame him, Lancashire is known for its wet weather, which is why there used to be a huge cotton industry here. Sorry Oldham, but I think Ischia would win every time.
In the 1920's and 30's Walton was considered the most important English composer of his generation.
In 1970/1 he composed 'Five Bagatelles for Solo Guitar', as a 50th birthday present for Malcolm Arnold which were dedicated to the guitarist Julian Bream.
In fact Walton was so pleased with the Bagatelles that in 1972 he composed 'Varii Capricci for Orchestra' based on them, which was one of the last pieces he wrote before his death in 1983. (He did actually rewrite the final movement in 1977).
So Happy Birthday Walton.
Meanwhile, Robin has been working hard on finalising two programmes for next week, so the music room door has been firmly shut whilst he prepares. He did emerge to take the dogs for a walk in the Lancashire drizzle though...
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