Track 13 - 'Arrival' - Mario Castelnuovo-Tedesco

'Prelude and Fugue in E major' is the final track on 'Arrival' and was written by the Italian composer Mario Castelnuovo-Tedesco (1895-1968).

Tedesco composed many important works for the guitar, mainly as a result of his friendship with Andres Segovia.
It was Segovia who introduced Tedesco to the Presti-Lagoya Duo who inspired him to compose a set of twenty-four preludes and fugues for two guitars, in the early 1960s.
In addition to his guitar composition, Tedesco composed in almost every conceivable form.

After his prudent flight from Italy in 1939, he lived in Beverly Hills, California, where he was employed by MGM studios, and worked on the scores of more than 200 films.
He became one of the most sought after composition teachers in Los Angeles, with pupils including John Williams, Henry Mancini and Andre Previn.

To read more on the life of Mario Castelnuovo-Tedesco, follow this link.

Track 6 - 'Arrival' - Pierre Petit

Track 6 on 'Arrival' is 'Tarantelle' by Pierre Petit.
Every time I hear this piece I can't help laughing, but you will have to read on, to the end, to find out why.

'Tarantelle' along with 'Toccatta' are, in Robin's opinion, two of the greatest duo pieces written, and are certainly amongst the most difficult to play.

Pierre Petit studied at the Paris Conservatoire, and in the 1950's was made director of light music for the French radio and T.V. company ORTF. He was also a music critic for 'Parisien Libere' and 'Le Figaro'.
His compositions include the 'Suite for Four Cellos' (1945), 'Zadig' (a ballet, 1948), 'Concerto for Piano and Orchestra' (1956), and a 'Concerto for two Guitars and Orchestra' (1965), which was composed for the famous husband and wife duo, Ida Presti and Alexandre Lagoya.
In 1946 Petit won the much coveted composers' competition, the 'Prix de Rome'.

The 'Tarantelle' is a piece of music best avoided if you suffer from arachnophobia.
It has been suggested that the music depicts the frenzied dance of an unfortunate individual after they have been bitten by a deadly tarantula...
It is however also a joyful and ebullient piece of music, which in the first slow section quotes, 'Clair de Lune' by Claude Debussy.
As the piece progresses, you can certainly imagine a gyrating person as they suffer the consequences of the tarantula's venom.

What you can't hear, unless you purchase the track of course, is the end of the 'Tarantelle'.
This is where my amusement arises.

The Hill/Wiltschinsky Guitar Duo have frequently performed the 'Tarantelle', and usually, it is programmed at the end of the first half, as it has such a grand finale.
Naturally one wants to leave their audience keen to hear more.

The Hill/Wiltschinsky Guitar Duo are certainly not known for ever playing safe in live concerts.
Instead they constantly push themselves, and each other, to perform the most exciting version they can, whilst obviously maintaining accuracy.
A difficult balance to achieve.
Fuelled by concert adrenaline, it makes for a heady mix.
The 'Tarantelle' is therefore the perfect piece to stimulate the duo's virtuosity.

As the piece progresses it becomes more and more exciting, and on one occasion, Robin got rather over enthusiastic.
He knew the performance was going well and the audience were already stunned.

However, on the finale of the piece Robin executes a rapid drum roll on the side of his guitar, using both hands.
Robin was pleased with the fantastic percussive effect until he glanced down at his beautiful Rubio guitar and spotted a massive split in the Brazilian rosewood along the guitar's entire length.
During the interval he was able to inspect the damage, but there wasn't really a lot that could be done.
The entire second half of the concert was performed with a little more caution.
The Rubio was later repaired and restored to it's former glory.

So whilst Robin has been called, "the Jimi Hendrix of the classical guitar," I think we should add Pete Townshend to the list....
Go and have a listen, from the extract that you hear, it starts to become apparent, just how frenzied 'Tarantelle' becomes.

Robin Hill and Peter Wiltschinsky 'Arrival'

"Nothing is more beautiful than a guitar - save perhaps two."
Frederic Chopin

Here are the sleeve notes to the CD we have just released, 'Arrival'.
Written by the Editor of Classical Guitar Magazine, Colin Cooper:

"The brilliance of Ida Presti and Alexandre Lagoya set standards of duo guitar playing that have seldom been equalled. The form is a difficult one. Accuracy and precision are of course prime essentials, but the best duos are welded together by something more: a unity of purpose a spirit of excitement and even adventure, an ability not only to play as one instrument but also to think as one musician.

Robin Hill and Peter Wiltschinsky, on the evidence of this recording, have that rare capacity. Their performances are alive, zestful, invigorating. It will make new friends for their exuberant playing, and new friends too for the guitar duo form in which so much can be accomplished.

Some of the pieces are familiar; some not so familiar, though they deserve to be. All are hugely enjoyable. Hill and Wiltschinsky demonstrate their very wide range by adapting their style successfully to every new requirement, from the English lute tradition of John Johnson to the 20th century composer, Pierre Petit. The Bach invention could scarcely be better chosen; light, airy, fast, it nourishes as it dazzles - perfection in 45 seconds. And has the Queen of Sheba ever made such an exhilarating arrival?

It gives me much pleasure to introduce this remarkable record - as much pleasure as I think it will give to those who listen to it."

Colin Cooper

What more can I say?
Follow this link, or click on the picture in the side bar, to have a listen.
Next week I shall tell you a little about each piece of music, and also, the strange, and at times rather intriguing, history of this particular recording.