Fantastic Mr Felix - Standing on Air by Robin Hill

Fantastic Mr Felix is the third track on the album, 'Standing on Air' and we have been delighted with the feedback.
I've received many emails, comments and messages, all saying that they simply can't get the tune out of their heads!

The inspiration behind the piece was our youngest son, Felix. It reflects his ebullient and good-natured character and his boundless energy.
Before I hear cries of favouritism, I'd like to remind readers that our eldest son had an entire concerto composed for him, 'Concerto Primavera', performed by members of the Liverpool Philharmonic, you can read the review and more about it here.

'Fantastic Mr Felix' is a highly coloured and energetic piece with a South American feel. This is partly due to the huge array of percussion instruments which include the guiro, cajon bongos, cuica, shakers etc. but also the Andean charango.
When Robin composed the piece he always wanted the distinctive sound of the charango to be a prominent feature, however, it was actually added towards the end of the recording process.
At the time Robin didn't own a charango, but luckily, he found one whilst on his frequent travels, in New York, promptly purchased it and after a few days familiarizing himself with the unusual tuning, he added it too the track.

There are two guitar cadenzas within the piece, the second of which, an extended run of descending semiquaver triplet slurs, seems never ending and sounds like Robin will run out of fingerboard before he finishes!
To inject a little humour the flexotone can be heard at the end of this perilous descent. The entire sequence was recorded in one take.

The lead guitar is a rapid and rhythmic series of question and answer phrases with some effective glissandi up to the top notes. These were all played as one part, not on two guitars as it may initially appear. Very rapid and accurate change in hand position is required.

At various points throughout the track a highly rhythmic, funky triangle can be heard. To prove that not all instruments have to be highly expensive, this triangle was actually taken from the children's toy box...

The cuica drum is an unusual instrument which adds a touch of exoticism with its jungle sounds. Robin's frequent travels to South America and his love of Brazilian music in particular, have surely influenced his choice of this instrument.

It's quite remarkable that every sound you hear on this track has been produced by Robin. His eclectic musical background has certainly served him well.
Whilst the guitar is heavily featured the final comment for the whole piece is left to the bongos, with a subtle and atmospheric sound achieved by guitarist's nails!

To listen to some of the track (it's the first one in the player at the top of the page), or to buy 'Standing on Air', you can visit Robin Hill's website, or one of the many digital download sites, ie, iTunes, Amazon, CD Baby.

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!

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...

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.

Happy Birthday to Sir Henry Wood 1869-1944

Today would have been Sir Henry Wood's birthday.




Sir Henry Wood had a profound influence on musical life in the UK and will always be associated with Promenade concerts, now known as the BBC Proms.
His desire to make music more accessible to people in general, and the traditions he established, continue to this day.

In a modern day attempt to bring orchestral music to the younger generation, later this week I shall be visiting the Royal Liverpool Philharmonic Orchestra, with a school party.
This is an admirable attempt by the Philharmonic to encourage young people to attend concerts and hopefully realise that 'classical' music has much to offer them.
More on that after the event.

Prior to a day out in Liverpool, I have a lot to do.
Robin is off again on Wednesday so preparations are well underway.
This trip requires four different programmes, so Robin is working very hard to have each of them at concert level.
For me it's nice, I'm hearing all four programmes as I go about my day, which currently consists mainly of packing...

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.