Track 5: 'Arrival of the Queen of Sheba' - Handel and Cecilia Bartoli's 'Maria'

George Frideric Handel (1685-1759) began composing at the age of 9 having already shown considerable musical talent on the harpsichord and pipe organ.

He had a turbulent relationship with his father who insisted he studied law in 1702. However, after his father's death, Handel abandoned law for music.

He lived for some time in London, at 25 Brook Street, which is currently the 'Handel House Museum'.
I know that this is well worth a visit, as Robin went a few years ago, and thoroughly enjoyed a personal tour by a very knowledgeable guide. He came home inspired by his visit and full of numerous anecdotes. He was doubly delighted to find that Jimi Hendrix had lived in the house next door!

Handel was a composer that was, and is, held in high esteem by fellow composers.
In 1824 Beethoven is quoted as saying:

"Handel is the greatest composer who ever lived. I would bare my head and kneel at his grave."

Bach:

"Handel is the only person I would wish to see before I die, and the only person I would wish to be, were I not Bach."

Mozart:

"Handel understands effect better than any of us. When he chooses, he strikes like a thunder bolt."

Really you can let the music speak for itself.

Robin originally recorded his own arrangement of 'Arrival of the Queen of Sheba' with Peter Wiltschinsky on their album, 'Virtuoso Music for Two Guitars' on the Hyperion label.
I was interested to find that details of this album are held in the 'International Guitar Research Archive', in the Oviatt Library on the campus of California State University.

Today's version of the 'Arrival of the Queen of Sheba', which comes from the oratario, 'Solomon', is a solo guitar and orchestra arrangement. The piece is eminently suited to performance on the guitar with its rapid scales and arpeggios, the original dialogue between two oboes being replaced by guitar and recorder.

When you have finished downloading this piece, I strongly recommend you go over to iTunes and download Cecilia Bartoli's new album, 'Maria'.
It's fantastic, and you can read all about Cecilia's passion for the Spanish mezzo-soprano, Maria Malibran, here, in an article by Rupert Christiansen.

To Play or Not to Play - That is the Question...

The other day I mentioned Bryn Terfel pulling out of the Royal Opera House's autumn production due to family commitments.
Following on from that, Rupert Christiansen wrote a piece yesterday which has some very good points, and it appears the public are divided. You can read the report and the comments here.

I do know that Robin had to make a very difficult decision connected to the premiere of his first ever concerto, 'Concerto Primavera'.
Two days prior to the performance, Robin's father died suddenly and unexpectedly.
Our world was in turmoil.
We had to deal with the emotion in the same way as any family.
But what do you do about the premiere?
The orchestra were booked and had been rehearsing.
The event was sold out.
It was not only the premiere of the piece, but also, the first concerto Robin had composed.
It wasn't just a case of being present at the premiere, Robin also had to perform it!
All in all it was a difficult position.

We discussed the situation as a family and it was decided that the 'show must go on', for many reasons, one of which being that Robin's father had been looking forward to it so much.
We didn't tell anyone.
Robin just got up there, played as well as he could, and somehow managed to get through the whole experience.
In fact the event was a huge success, and gained excellent reviews, which gave a much needed morale boost.

So, in this situation, the show did go on.
However, I'm not sure the same would apply if it were a sick child.
A parent who has died is a very different scenario, there really isn't a lot you can do.
A sick child needs support.
I just hope we don't have to face that dilemma, and I suppose all situations have to be looked at individually, and an informed decision made that feels right for the performer and their family.