We were delighted to discover on Friday, (many thanks to Nik Payton in Brazil for telling me!) that Robin has been nominated for the JPF Music Awards 2009.
The song is, Dolor de Muelas, and it has been shortlisted under the Latin Jazz Song section, amongst 20 other nominees.
To see the full list you can visit here.
This is a substantial achievement.
After 14 months of screening with 5 long rounds and 3 groups of judges made up of the music industry, artists/writer peers and music fans, the nominees were finally selected.
Apparently, 42 000 albums were submitted and a total of 560 000 songs across all genres!
According to the information I have this means that less than 1/3 of 1% were nominated.
Dolor de Muelas, (which can be found on 'Virtuoso' CD Baby, iTunes) may appear an unusual title and that's because when translated it means 'toothache'. At the time of composition Robin was suffering with the aforementioned and decided it would be rather amusing.
However we didn't realise the piece would be under so much scrutiny!
Dolor de Muelas has a freewheeling, samba groove and you can read more about it in the original post, 'Track 2: Dolor de Muelas and Manic Management...'.
So I would just like to say thank you to the judges who selected Robin's piece of music for this stage and wish everyone luck for the final round.
Maybe we'll see some of you in Nashville TN in August...
Showing posts with label Virtuoso. Show all posts
Showing posts with label Virtuoso. Show all posts
Monday, June 29, 2009
Friday, February 20, 2009
The Stories Behind the Music - Robin Hill on Reverbnation
Many, but not all, of the pieces featured in the new player, found in the sidebar, have been discussed here before on this blog.
But I thought it might be nice for new readers and followers to access the background information to these pieces, and have the opportunity to listen whilst they learn about some of the history of Robin and his music.
So to make life easy for you I have put all the links together in this post today.
So here goes.
Track 1: Eternal Dance.
Eternal Dance has been discussed many times here as it is a powerful piece of music. To learn more about the concerto version, as found on 'Virtuoso', visit. 'Arrival on iTunes and Eternal Dance - Robin Hill'.
For the quartet version, found on, 'Eklectica', then try this page, 'Robin Hill and Eklectica Play 'Eternal Dance'.
Track 2: Hispanic Dance.
One of the posts relating to 'Hispanic Dance' gives details of the composer, Claude Bolling, and more information about the four members of 'Eklectica', alongside details of the seven movements featured in the concerto, of which Hispanic Dance is the first. 'Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.
Track 3: Bach Invention No 8.
Bach invention was first mentioned, very briefly, here, and in a bit more detail with this post, 'Robin Hill and Peter Wiltschinsky 'Arrival'.
I must say, that the Bach, along with track 8 on Arrival, Felix Mendelssohn's 'Song Without Words No1 Op62', are two of my duo favourites.
Track 4: Fiesta de Xabia.
I should point out that no bulls were hurt during the inspiration for this piece. To understand how Fiesta de Xabia was conceived then read, 'Fiesta de Xabia' by Robin Hill - Guitar'.
As yet, this piece is not available to buy, but one of the advantages of reading a blog such as this one is that you get little taster of things to come!
Track 5: Tarantella - Suite Italiana.
Suite Italiana was composed especially for the Hill/Wiltschinsky Guitar Duo, which you can read about here.
This honour came about after Mario Gangi heard the duo performing one of his pieces, 'Suite Spagnola', which you can read about on the post, 'Track 4 - 'Arrival' - Mario Gangi'.
Track 6: Wheatfield Under Troubled Skies.
This is an orchestral composition by Robin and you may be surprised to hear there isn't a guitar in it!
It's a beautiful piece of music and there are more details on the post, 'World Premiere - 'Wheatfield under Troubled Skies' - Robin Hill'.
Track 7: Palace of the King.
Now for something completely different, and one that really does highlight the unusual twists and turns that a career in music can take.
This is true Rock 'n' Roll with some of the world's best. Read this, 'Deep Purple Haze Days'.
Track 8: Wizard of Waukesha.
This is one of Robin's bands, Hooper, and yes, the man in the picture with very long hair, and playing a Les Paul guitar, is Robin....take a look here.
Track 9: Fast Forward.
This song has been around for many years, and is another example of Robin on electric guitar, playing one of his own compositions. To find out more about Robin's band, 'Hooper', (which, incidentally, includes two BBC Philharmonic Orchestra players!) read, 'Robin Hill and Travis Bean...Rewind to Fast Forward.'
Track 10: Caprice No 7 - Legnani.
Another example of a track not yet available to buy, but our gift to you. Learn more about Legnani here.
Finally,
Track 11: Celebration.
'Celebration' is a song performed by another band Robin has been involved in. They made an incredible sound and had a phenomenal brass section. Check them out at, 'Force Ten To Be Reckoned With'.
So there we are.
A little bit of history attached to all the tracks currently in the player.
I can, and will, be adding new pieces from time to time, so be sure to keep checking!
Just follow the link and then 'click' on the desired track in the player.
But I thought it might be nice for new readers and followers to access the background information to these pieces, and have the opportunity to listen whilst they learn about some of the history of Robin and his music.
So to make life easy for you I have put all the links together in this post today.
So here goes.
Track 1: Eternal Dance.
Eternal Dance has been discussed many times here as it is a powerful piece of music. To learn more about the concerto version, as found on 'Virtuoso', visit. 'Arrival on iTunes and Eternal Dance - Robin Hill'.
For the quartet version, found on, 'Eklectica', then try this page, 'Robin Hill and Eklectica Play 'Eternal Dance'.
Track 2: Hispanic Dance.
One of the posts relating to 'Hispanic Dance' gives details of the composer, Claude Bolling, and more information about the four members of 'Eklectica', alongside details of the seven movements featured in the concerto, of which Hispanic Dance is the first. 'Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.
Track 3: Bach Invention No 8.
Bach invention was first mentioned, very briefly, here, and in a bit more detail with this post, 'Robin Hill and Peter Wiltschinsky 'Arrival'.
I must say, that the Bach, along with track 8 on Arrival, Felix Mendelssohn's 'Song Without Words No1 Op62', are two of my duo favourites.
Track 4: Fiesta de Xabia.
I should point out that no bulls were hurt during the inspiration for this piece. To understand how Fiesta de Xabia was conceived then read, 'Fiesta de Xabia' by Robin Hill - Guitar'.
As yet, this piece is not available to buy, but one of the advantages of reading a blog such as this one is that you get little taster of things to come!
Track 5: Tarantella - Suite Italiana.
Suite Italiana was composed especially for the Hill/Wiltschinsky Guitar Duo, which you can read about here.
This honour came about after Mario Gangi heard the duo performing one of his pieces, 'Suite Spagnola', which you can read about on the post, 'Track 4 - 'Arrival' - Mario Gangi'.
Track 6: Wheatfield Under Troubled Skies.
This is an orchestral composition by Robin and you may be surprised to hear there isn't a guitar in it!
It's a beautiful piece of music and there are more details on the post, 'World Premiere - 'Wheatfield under Troubled Skies' - Robin Hill'.
Track 7: Palace of the King.
Now for something completely different, and one that really does highlight the unusual twists and turns that a career in music can take.
This is true Rock 'n' Roll with some of the world's best. Read this, 'Deep Purple Haze Days'.
Track 8: Wizard of Waukesha.
This is one of Robin's bands, Hooper, and yes, the man in the picture with very long hair, and playing a Les Paul guitar, is Robin....take a look here.
Track 9: Fast Forward.
This song has been around for many years, and is another example of Robin on electric guitar, playing one of his own compositions. To find out more about Robin's band, 'Hooper', (which, incidentally, includes two BBC Philharmonic Orchestra players!) read, 'Robin Hill and Travis Bean...Rewind to Fast Forward.'
Track 10: Caprice No 7 - Legnani.
Another example of a track not yet available to buy, but our gift to you. Learn more about Legnani here.
Finally,
Track 11: Celebration.
'Celebration' is a song performed by another band Robin has been involved in. They made an incredible sound and had a phenomenal brass section. Check them out at, 'Force Ten To Be Reckoned With'.
So there we are.
A little bit of history attached to all the tracks currently in the player.
I can, and will, be adding new pieces from time to time, so be sure to keep checking!
Just follow the link and then 'click' on the desired track in the player.
Thursday, April 10, 2008
Sun, Sea, Silk, and Second Concert Success
The QE2 was cruising the Straits of Florida yesterday, and Robin spent the day rehearsing for his second guitar concert.
The news is good, and I've had reports from various sources, that the concert was a great success.
There was a minor hiccup about 2/3 of the way through, when Robin's silk nail wrap became unstuck.
For any guitarists out there, they will realise that this is a problem, and one that has to be dealt with before play can continue.
For the non-guitarists amongst you, Robin uses silk wrap on any damaged areas of nails of his right hand.
Classical guitarists require long, and strong, nails to produce the correct sound.
When performing as frequently as Robin does it is inevitable that nail damage will occur.
The problem is how to repair that damage without losing any sound quality.
Over the years Robin has tried many things and his current method is to use a special silk wrap and glue.
Consequently, as the wrap became unstuck, he had to leave the stage for a few minutes, and do an emergency repair.
This happens occasionally, and whilst rather stressful for Robin, the audience don't seem to mind, especially as he always explains what has happened, and occasionally actually carries out the repair on stage as he introduces the next piece of music.
He went on to perform the Mozart variations, which if you recall had been requested on this particular trip.
It must have gone well, as some of the audience showed their appreciation by standing, along with some of the resident musicians.
After the concert he spoke to a few members of the audience and was delighted with their comments.
Particularly the compliments paid by two Spanish men, who are friends with the incredible guitarist, Paco de Lucia.
Meanwhile, back in the UK, I was surprised yesterday by a large increase in the number of hits to the blog.
Sometimes you can work out why, sometimes not.
The trend seems to have continued so far today which is nice.
One of the reasons could be a report by the BBC, about an appeal to identify a body found in 2006 on Islay.
I know that's rather gruesome, and you may be wondering why I have made this connection.
Well, it's because Robin composed a piece called, 'Return to Islay', featured on 'Virtuoso', and as people have been searching this story, they have come across a rather more uplifting side to the beautiful Island of Islay.
The news is good, and I've had reports from various sources, that the concert was a great success.
There was a minor hiccup about 2/3 of the way through, when Robin's silk nail wrap became unstuck.
For any guitarists out there, they will realise that this is a problem, and one that has to be dealt with before play can continue.
For the non-guitarists amongst you, Robin uses silk wrap on any damaged areas of nails of his right hand.
Classical guitarists require long, and strong, nails to produce the correct sound.
When performing as frequently as Robin does it is inevitable that nail damage will occur.
The problem is how to repair that damage without losing any sound quality.
Over the years Robin has tried many things and his current method is to use a special silk wrap and glue.
Consequently, as the wrap became unstuck, he had to leave the stage for a few minutes, and do an emergency repair.
This happens occasionally, and whilst rather stressful for Robin, the audience don't seem to mind, especially as he always explains what has happened, and occasionally actually carries out the repair on stage as he introduces the next piece of music.
He went on to perform the Mozart variations, which if you recall had been requested on this particular trip.
It must have gone well, as some of the audience showed their appreciation by standing, along with some of the resident musicians.
After the concert he spoke to a few members of the audience and was delighted with their comments.
Particularly the compliments paid by two Spanish men, who are friends with the incredible guitarist, Paco de Lucia.
Meanwhile, back in the UK, I was surprised yesterday by a large increase in the number of hits to the blog.
Sometimes you can work out why, sometimes not.
The trend seems to have continued so far today which is nice.
One of the reasons could be a report by the BBC, about an appeal to identify a body found in 2006 on Islay.
I know that's rather gruesome, and you may be wondering why I have made this connection.
Well, it's because Robin composed a piece called, 'Return to Islay', featured on 'Virtuoso', and as people have been searching this story, they have come across a rather more uplifting side to the beautiful Island of Islay.
Wednesday, April 09, 2008
Comedy on Cunard, Coffee and Clapping, and YouTube
I have a selection of updates for you today.
First, it appears that the Captain on the QE2 has a sense of humour.
Read this post from a few days ago.
Well, it appears that a number of April Fool pranks were going on, all over the ship, for most of the morning.
The giant cat, advertised in the daily newspaper, had many guests up on deck hoping to catch a glimpse of this beast.
Whether a crew member was parading around with a stuffed cat, I'm not sure, but, there wasn't actually an Egyptian man with an enormous cat in residence.
However, some guests may have missed it.
Particularly if they don't have good sea legs.
In each room is a TV monitor, which you can have tuned to a camera, that's situated on the front of the ship.
Then you can watch the sea, from a similar perspective to the captain, and follow the ships progress.
On the first of April, the live shot was replaced with some video footage, of extremely rough sea, crashing over the QE2.
Robin said he turned the monitor on, saw the huge waves, and was somewhat surprised.
After many trips around the world, some of them in very bad weather, with waves of over 40 feet, he knows what rough sea feels like.
On this day though, the ship was steady as a rock, no cupboard doors banging, no pitching and rolling, no music falling off stands.
He went to investigate and discovered a beautifully calm sea outside.
I can't help but wonder how many guests remained in their cabins all day feeling a little nauseous....
Secondly, it seems that Robin and Izzy's performance of Rodrigo's Adagio is still being appreciated by the audience.
Izzy has now left the QE2, but Robin has a few more days, and two concerts to perform.
He decided to venture into the restaurant for some coffee, only to be met by spontaneous applause from a group of guests.
It's very nice to be appreciated.
Finally, I decided to have a quick look at my husband on YouTube, just to remind myself what he looks like, and clicked on the 'Virtuoso' link.
I haven't been there for a while and there were a couple of new comments, one of which intrigued me.
Someone claims to have met Robin in the 70's, as Robin went out with his sister for a while. He remembers him well because of the many hours of practice he did!
Some things never change.
I shall have to follow up on that one when he gets back even though it was way before my time...
First, it appears that the Captain on the QE2 has a sense of humour.
Read this post from a few days ago.
Well, it appears that a number of April Fool pranks were going on, all over the ship, for most of the morning.
The giant cat, advertised in the daily newspaper, had many guests up on deck hoping to catch a glimpse of this beast.
Whether a crew member was parading around with a stuffed cat, I'm not sure, but, there wasn't actually an Egyptian man with an enormous cat in residence.
However, some guests may have missed it.
Particularly if they don't have good sea legs.
In each room is a TV monitor, which you can have tuned to a camera, that's situated on the front of the ship.
Then you can watch the sea, from a similar perspective to the captain, and follow the ships progress.
On the first of April, the live shot was replaced with some video footage, of extremely rough sea, crashing over the QE2.
Robin said he turned the monitor on, saw the huge waves, and was somewhat surprised.
After many trips around the world, some of them in very bad weather, with waves of over 40 feet, he knows what rough sea feels like.
On this day though, the ship was steady as a rock, no cupboard doors banging, no pitching and rolling, no music falling off stands.
He went to investigate and discovered a beautifully calm sea outside.
I can't help but wonder how many guests remained in their cabins all day feeling a little nauseous....
Secondly, it seems that Robin and Izzy's performance of Rodrigo's Adagio is still being appreciated by the audience.
Izzy has now left the QE2, but Robin has a few more days, and two concerts to perform.
He decided to venture into the restaurant for some coffee, only to be met by spontaneous applause from a group of guests.
It's very nice to be appreciated.
Finally, I decided to have a quick look at my husband on YouTube, just to remind myself what he looks like, and clicked on the 'Virtuoso' link.
I haven't been there for a while and there were a couple of new comments, one of which intrigued me.
Someone claims to have met Robin in the 70's, as Robin went out with his sister for a while. He remembers him well because of the many hours of practice he did!
Some things never change.
I shall have to follow up on that one when he gets back even though it was way before my time...
Tuesday, March 25, 2008
The Paraguayan, Barrios, and Paganini.
Once the urge to play a piece has taken hold, there really is very little one can do.
The need to understand and interpret the piece becomes all consuming.
This has to happen though.
This is how new pieces are added to the repertoire, or, revisited after many years. Also, over time, any player will find alternative fingerings or hand positions, which will alter the feel of a piece.
All this has to be taken into account.
However, all this work doesn't go unnoticed.
Yesterday I had a comment sent about a post from back in December 2007. The post was 'Robin Hill plays Agustin Barrios', and was related to the piece of music, 'Villancico de Navidad', which you can hear an extract of, here, track 16.
The comment:
"Congratulations, very good interpretation."
We were obviously delighted by this. To receive praise for your music is always very special.
Especially so in this case, as the comment originated from a huge Barrios fan, as you can see from his own site, here.
But the piece currently being worked on, is Paganini, Caprice No.24. I must say it is sounding very good.
And believe me, I'm hearing a lot of it...
For now though, you'll just have to imagine this fantastic piece, being played on guitar.
That is until Robin has recorded it...
The need to understand and interpret the piece becomes all consuming.
This has to happen though.
This is how new pieces are added to the repertoire, or, revisited after many years. Also, over time, any player will find alternative fingerings or hand positions, which will alter the feel of a piece.
All this has to be taken into account.
However, all this work doesn't go unnoticed.
Yesterday I had a comment sent about a post from back in December 2007. The post was 'Robin Hill plays Agustin Barrios', and was related to the piece of music, 'Villancico de Navidad', which you can hear an extract of, here, track 16.
The comment:
"Congratulations, very good interpretation."
We were obviously delighted by this. To receive praise for your music is always very special.
Especially so in this case, as the comment originated from a huge Barrios fan, as you can see from his own site, here.
But the piece currently being worked on, is Paganini, Caprice No.24. I must say it is sounding very good.
And believe me, I'm hearing a lot of it...
For now though, you'll just have to imagine this fantastic piece, being played on guitar.
That is until Robin has recorded it...
Monday, March 10, 2008
Cars (Fiesta), Boats (1st Concert) and Trains (Honegger)
It has been rather a strange weekend. Email contact has been minimal due to extortionate costs, and 'phone calls intermittent, so I'll pass on as much as I can, given limited information.
Robin gave his first concert on Saturday and played a lovely programme which was very well received.
Here's an example of some of the pieces he played:
Malaguena - (Trad. Arr. Hill)
Six Renaissance Lute Pieces - (Arr.Chilesotti revised Hill)
(Andante - Bianco fiore - Danza - Galiarda - Se Lo M'Accorgo - Saterello)
Three Tarrega pieces
El Noy de la Mare (Trad.Arr.Llobet)
Three Pieces by Dilermando Reis
(Conversa da Baiana - Si Ela Perguntar - Xodo da Baiana)
La Paloma (Iradier - Arr.Tarrega)
Zapateado -Sabicas
Some of these can be heard on 'Virtuoso', so follow the link if you want to have a listen.
I've been amused over the last few days by the number of people finding this site with searches, 'Ford Fiesta how to buy', and 'How to repair n/s front wing fiesta'.
I only hope that whoever has had an accident in their Fiesta, gained some comfort from listening to Robin's piece, 'Fiesta de Xabia', and weren't too disappointed at the lack of car repair information!
Also, today would have been Arthur Honegger's birthday, so I'm going to go off and listen to 'Pacific 231' in his honour.
Robin gave his first concert on Saturday and played a lovely programme which was very well received.
Here's an example of some of the pieces he played:
Malaguena - (Trad. Arr. Hill)
Six Renaissance Lute Pieces - (Arr.Chilesotti revised Hill)
(Andante - Bianco fiore - Danza - Galiarda - Se Lo M'Accorgo - Saterello)
Three Tarrega pieces
El Noy de la Mare (Trad.Arr.Llobet)
Three Pieces by Dilermando Reis
(Conversa da Baiana - Si Ela Perguntar - Xodo da Baiana)
La Paloma (Iradier - Arr.Tarrega)
Zapateado -Sabicas
Some of these can be heard on 'Virtuoso', so follow the link if you want to have a listen.
I've been amused over the last few days by the number of people finding this site with searches, 'Ford Fiesta how to buy', and 'How to repair n/s front wing fiesta'.
I only hope that whoever has had an accident in their Fiesta, gained some comfort from listening to Robin's piece, 'Fiesta de Xabia', and weren't too disappointed at the lack of car repair information!
Also, today would have been Arthur Honegger's birthday, so I'm going to go off and listen to 'Pacific 231' in his honour.
Friday, February 08, 2008
Robin Hill and Eklectica Play 'Eternal Dance'
'Eternal Dance' was originally composed for the quartet and later expanded into a piece for guitar and orchestra. The concerto version can be heard on Robin's 'Virtuoso' album.
'Eternal Dance' has an unusual, but highly rhythmic, time signature of 5/8 with the occasional bars of 7/8.
Also, for anyone who wants to try and play it, the piece features a scordatura tuning for the guitar, with bottom E tuned down to C, and A down to G.
The piece is in the key of C minor.
The Eklectica version commences with a solo guitar which sets the rhythm for the piece, and gradually various percussion is added.
Robin uses rasgueados to reinforce the rhyhthm before Daniel Bath's vocal entry.
After the guitar has re-stated the theme, percussion, bass and piano all join in with sparing timpani adding drama at strategic points.
Eternal Dance is 5 minutes and 4 seconds long, and as the name suggests, it seems fitting to end by fading out rather than an abrupt conclusion.
Consequently Robin finishes on an improvised guitar line, gradually disappearing into the distance.
'Eternal Dance' has an unusual, but highly rhythmic, time signature of 5/8 with the occasional bars of 7/8.
Also, for anyone who wants to try and play it, the piece features a scordatura tuning for the guitar, with bottom E tuned down to C, and A down to G.
The piece is in the key of C minor.
The Eklectica version commences with a solo guitar which sets the rhythm for the piece, and gradually various percussion is added.
Robin uses rasgueados to reinforce the rhyhthm before Daniel Bath's vocal entry.
After the guitar has re-stated the theme, percussion, bass and piano all join in with sparing timpani adding drama at strategic points.
Eternal Dance is 5 minutes and 4 seconds long, and as the name suggests, it seems fitting to end by fading out rather than an abrupt conclusion.
Consequently Robin finishes on an improvised guitar line, gradually disappearing into the distance.
Friday, December 28, 2007
The iPod nano and the Rehydrated Alien...
I hope you have all had a lovely Christmas and are enjoying the lull before the New Year festivities get under way.
We have had a great time and enjoyed a relaxing break, spending time with the family, and playing with all the new toys that have accumulated around the house.
Son number one is now the proud owner of an iPod nano, and I must say that I have been delighted with his choice of music.
As you would expect he has added the soundtrack for 'Doctor Who' and 'The Simpsons Movie', but, there are also many fantastic tracks, that I'm proud to say he has chosen.
The artists are diverse, Aretha Franklin, The Beatles, Bob Dylan, Cecilia Bartoli, Genesis, Green day, Santana, Tower of Power, Van Morrison and John Rutter, to name a few.
But I happened to notice one piece that has found its way on to the iPod, much to son's amusement, John Cooper Clarke, 'Evidently Chickentown', which, whilst not particularly suitable for a boy of 10, (although it is the cut version) it is an incredible poetic accomplishment.
Today alone he has requested 'Walton: Crown Imperial', oh, and of course, not only his Dad's 'Virtuoso', but, also his 'Concerto Primavera', but then it was composed for him.
We have also been enjoying a very generous gift of a voucher for iTunes. So far, Flora Purim has made her way to our collection, and we are enjoying the sound immensely.
Whilst we listen to 'the beats' as son number one now refers to his music..., I can also report that son number two received a triangle, which he did request on his Christmas list, and is now practicing daily...for lengthy periods.....
But now, I have to rehydrate an alien that we are currently growing in a test tube, another Christmas gift....
We have had a great time and enjoyed a relaxing break, spending time with the family, and playing with all the new toys that have accumulated around the house.
Son number one is now the proud owner of an iPod nano, and I must say that I have been delighted with his choice of music.
As you would expect he has added the soundtrack for 'Doctor Who' and 'The Simpsons Movie', but, there are also many fantastic tracks, that I'm proud to say he has chosen.
The artists are diverse, Aretha Franklin, The Beatles, Bob Dylan, Cecilia Bartoli, Genesis, Green day, Santana, Tower of Power, Van Morrison and John Rutter, to name a few.
But I happened to notice one piece that has found its way on to the iPod, much to son's amusement, John Cooper Clarke, 'Evidently Chickentown', which, whilst not particularly suitable for a boy of 10, (although it is the cut version) it is an incredible poetic accomplishment.
Today alone he has requested 'Walton: Crown Imperial', oh, and of course, not only his Dad's 'Virtuoso', but, also his 'Concerto Primavera', but then it was composed for him.
We have also been enjoying a very generous gift of a voucher for iTunes. So far, Flora Purim has made her way to our collection, and we are enjoying the sound immensely.
Whilst we listen to 'the beats' as son number one now refers to his music..., I can also report that son number two received a triangle, which he did request on his Christmas list, and is now practicing daily...for lengthy periods.....
But now, I have to rehydrate an alien that we are currently growing in a test tube, another Christmas gift....
Monday, December 10, 2007
Robin Hill plays Agustin Barrios
The final track to discuss on 'Virtuoso' is track 16, 'Villancico de Navidad' , by Agustin Barrios.
I saved this one until the end to get you all in a festive mood as it is an arrangement of a Paraguayan Christmas song.
Agustin Barrios (1885-1944) was born in San Bautista de las Misiones, Paraguay, and was a guitarist and composer.
In 1910 he left Paraguay for a week of concerts in Argentina but was so successful that he was away for 14 years playing in Brazil, Chile and Uruguay.
I do hope that Robin doesn't do the same thing...
By 1934 Barrios travelled to Europe where he gave concerts in Brussels, Germany and Spain, and in 1936 he returned to Latin America where he taught in the Conservatorio Nacional de Musica, San Salvador.
Barrios composed over 100 works, many attributed to obscure European composers, as he believed they would be taken more seriously.
He's not alone in this practice, somewhere out there is a piece of music played on two guitars, by the composer 'Anna Naneek'.
I'll give you a clue, my maiden name was Keenan, and so far, only one person has spotted this...
Barrios is thought to be the first classical guitarist to make a record, in 1910, and also to have played a complete Bach Suite (Lute Suite No.1).
He was quite a character and in the later stages of his career he reinvented himself as 'Nitsuga Barrios Mangore', the Paganini from the jungles of Paraguay, and appeared on stage in full South American Indian costume!
Thankfully, as Robin is from Huddersfield, I can't think of any national dress that he may choose to wear on stage, and anyway my needlework skills would probably not be up to it.
I saved this one until the end to get you all in a festive mood as it is an arrangement of a Paraguayan Christmas song.
Agustin Barrios (1885-1944) was born in San Bautista de las Misiones, Paraguay, and was a guitarist and composer.
In 1910 he left Paraguay for a week of concerts in Argentina but was so successful that he was away for 14 years playing in Brazil, Chile and Uruguay.
I do hope that Robin doesn't do the same thing...
By 1934 Barrios travelled to Europe where he gave concerts in Brussels, Germany and Spain, and in 1936 he returned to Latin America where he taught in the Conservatorio Nacional de Musica, San Salvador.
Barrios composed over 100 works, many attributed to obscure European composers, as he believed they would be taken more seriously.
He's not alone in this practice, somewhere out there is a piece of music played on two guitars, by the composer 'Anna Naneek'.
I'll give you a clue, my maiden name was Keenan, and so far, only one person has spotted this...
Barrios is thought to be the first classical guitarist to make a record, in 1910, and also to have played a complete Bach Suite (Lute Suite No.1).
He was quite a character and in the later stages of his career he reinvented himself as 'Nitsuga Barrios Mangore', the Paganini from the jungles of Paraguay, and appeared on stage in full South American Indian costume!
Thankfully, as Robin is from Huddersfield, I can't think of any national dress that he may choose to wear on stage, and anyway my needlework skills would probably not be up to it.
Saturday, December 08, 2007
Stockhausen, Stravinsky and Danza Brasilera
The influential yet controversial German Composer Karlheinz Stockhausen has died. You can read about his life, in one of many obituaries, here.
On a lighter note we enjoyed a fabulous evening yesterday watching the London Symphony Orchestra, with their Principle conductor, Valery Gergiev.
Unfortunately we weren't actually there but BBC4 aired the first of three concerts by the LSO.
It was a fantastic programme with classic works by Debussy and Prokofiev, but the highlight of the evening was Stravinsky's, 'The Rite of Spring'.
Gergiev is a flamboyant conductor and a delight to observe, and he managed to get every last ounce (or should that be milligramme?) out of each and every musician.
If you get the chance to see him at work be sure to take it.
'Danza Brasilera', is track 6 on 'Virtuoso', and is a wonderful samba by the Argentinian guitarist and composer, Jorge Morel.
Robin has added his own introduction but the rest of the piece is as the original.
On a lighter note we enjoyed a fabulous evening yesterday watching the London Symphony Orchestra, with their Principle conductor, Valery Gergiev.
Unfortunately we weren't actually there but BBC4 aired the first of three concerts by the LSO.
It was a fantastic programme with classic works by Debussy and Prokofiev, but the highlight of the evening was Stravinsky's, 'The Rite of Spring'.
Gergiev is a flamboyant conductor and a delight to observe, and he managed to get every last ounce (or should that be milligramme?) out of each and every musician.
If you get the chance to see him at work be sure to take it.
'Danza Brasilera', is track 6 on 'Virtuoso', and is a wonderful samba by the Argentinian guitarist and composer, Jorge Morel.
Robin has added his own introduction but the rest of the piece is as the original.
Friday, December 07, 2007
"The Divine Giuliani" - Beethoven
Mauro Giuliani (1781-1829) was born near Bari and was an Italian guitar virtuoso and composer.
He studied the cello and counterpoint, but the six-string guitar became his principle instrument early in life.
Earlier the five string guitar, known as a 'French guitar' was popular, but the instrument lagged behind the more popular lute and mandora. Once the sixth string was added, bottom E, the 'modern' guitar could at last reach the rank that the mandora had held in the musical world.
There were many fine guitarists in Italy at the beginning of the 19th century (Agliati, Carulli, Gragnani, Nava, etc), but many moved north in order to make a living.
Public interest at the time lay with opera and the guitar was seen as an accompaniment instrument. Giuliani did in fact write many works for voice and guitar throughout his life.
At this stage Italy didn't reward the talented individuals who chose to play the guitar as a solo chamber instrument.
Also, the sound level of a classical guitar circa 1800 was diminutive compared to other contemporary instruments, therefore making it difficult to be heard in the typical Italian theatre.
There was also widespread political instability at the time causing many conservatories to close, and along with a lack of competent publishing houses, there were enough reasons for Giuliani, and many others, to leave.
He settled in Vienna in 1806 and quickly became famous as the greatest living guitarist and a notable composer.
In 1808 Giuliani gave the premiere of his guitar concerto, with full orchestra, to great public acclaim.
From then on he led the classical guitar movement in Vienna, teaching, performing and composing a huge number of works for the guitar.
Giuliani moved in elite circles, in 1813 he played the cello in the premiere of Beethoven's Seventh Symphony, in the company of Hummel, Mayseder and Spohr.
Giuliani had two talented children, Michel, who became a 'professeur de chant' at the Paris Conservatoire, and Emilia, who was also a famous guitar virtuoso and composer.
'Esercizio' by Giuliani, track 20 on 'Virtuoso', is, as it says, an exercise, or study. But like all the best studies it has huge musical value and isn't purely concerned with the mechanical aspects of playing the guitar.
He studied the cello and counterpoint, but the six-string guitar became his principle instrument early in life.
Earlier the five string guitar, known as a 'French guitar' was popular, but the instrument lagged behind the more popular lute and mandora. Once the sixth string was added, bottom E, the 'modern' guitar could at last reach the rank that the mandora had held in the musical world.
There were many fine guitarists in Italy at the beginning of the 19th century (Agliati, Carulli, Gragnani, Nava, etc), but many moved north in order to make a living.
Public interest at the time lay with opera and the guitar was seen as an accompaniment instrument. Giuliani did in fact write many works for voice and guitar throughout his life.
At this stage Italy didn't reward the talented individuals who chose to play the guitar as a solo chamber instrument.
Also, the sound level of a classical guitar circa 1800 was diminutive compared to other contemporary instruments, therefore making it difficult to be heard in the typical Italian theatre.
There was also widespread political instability at the time causing many conservatories to close, and along with a lack of competent publishing houses, there were enough reasons for Giuliani, and many others, to leave.
He settled in Vienna in 1806 and quickly became famous as the greatest living guitarist and a notable composer.
In 1808 Giuliani gave the premiere of his guitar concerto, with full orchestra, to great public acclaim.
From then on he led the classical guitar movement in Vienna, teaching, performing and composing a huge number of works for the guitar.
Giuliani moved in elite circles, in 1813 he played the cello in the premiere of Beethoven's Seventh Symphony, in the company of Hummel, Mayseder and Spohr.
Giuliani had two talented children, Michel, who became a 'professeur de chant' at the Paris Conservatoire, and Emilia, who was also a famous guitar virtuoso and composer.
'Esercizio' by Giuliani, track 20 on 'Virtuoso', is, as it says, an exercise, or study. But like all the best studies it has huge musical value and isn't purely concerned with the mechanical aspects of playing the guitar.
Wednesday, December 05, 2007
'Yesterday' and Robin Hill
'Yesterday' by Lennon and McCartney has to be one of the most well known songs ever recorded.
The song was written by Paul McCartney after the music came to him in a dream. He then used the words 'scrambled eggs' until he later worked out the lyrics!
This version of 'Yesterday', is an arrangement of Robin's, for two guitars, and is track 9 on Virtuoso.
Over the years the Hill/Wiltschinsky Guitar Duo have recorded many Beatles tracks, which they always arranged themselves.
Often they would add little musical quotes from other well known songs, somewhere in the arrangement, and we have often wondered if anyone noticed them. Some are more obvious than others, and they aren't necessarily from other Beatles songs.
There is in fact one in 'Yesterday', but you would have to hear the whole track, to see if you could identify the musical quip.
Can anyone spot it?
Other news, there was an interesting article in the Telegraph today, by Simon Heffer.
Heffer gives an excellent review of a new film about the composer Ralph Vaughan Williams. It sounds like it will be well worth watching, and you can see it in the UK on Channel 5 on January 1st. As the film is three hours long it should give you plenty of time to recover from any overindulgence the night before.
If you can't wait until then to see it, it's available on DVD form tomorrow, at, tonypalmerdvd.com
The song was written by Paul McCartney after the music came to him in a dream. He then used the words 'scrambled eggs' until he later worked out the lyrics!
This version of 'Yesterday', is an arrangement of Robin's, for two guitars, and is track 9 on Virtuoso.
Over the years the Hill/Wiltschinsky Guitar Duo have recorded many Beatles tracks, which they always arranged themselves.
Often they would add little musical quotes from other well known songs, somewhere in the arrangement, and we have often wondered if anyone noticed them. Some are more obvious than others, and they aren't necessarily from other Beatles songs.
There is in fact one in 'Yesterday', but you would have to hear the whole track, to see if you could identify the musical quip.
Can anyone spot it?
Other news, there was an interesting article in the Telegraph today, by Simon Heffer.
Heffer gives an excellent review of a new film about the composer Ralph Vaughan Williams. It sounds like it will be well worth watching, and you can see it in the UK on Channel 5 on January 1st. As the film is three hours long it should give you plenty of time to recover from any overindulgence the night before.
If you can't wait until then to see it, it's available on DVD form tomorrow, at, tonypalmerdvd.com
Tuesday, December 04, 2007
Xodo da Baiana - Dilermando Reis
'Xodo da Baiana' by Dilermando Reis is another piece on Virtuoso, track 19, with a truly South American feel.
Dilermando Reis, (1916-1977) was a Brazilian guitarist born in Sao Paulo. He studied the guitar from an early age with his father, Francisco Reis, and by the age of 15, Dilermando was already known as the best guitarist in Sao Paulo.
By 1933 Reis had moved to Rio de Janeiro, where he lived for most of his life, and was prolific in recording over 40 albums.
He enjoyed many kinds of music and recorded pieces from composers as diverse as Bach, Barrios, Tarrega and Gnatalli, among others.
However his first love was for the traditional Brazilian style of music, featuring mainly waltzes and choros full of melodic invention, syncopated rhythms and pleasing modulations.
He was equally prolific as a composer with over 100 of his own compositions, many of which have become standards of Brazilian guitar playing.
'Xodo da Baiana' is typical of his style.
The use of pizzicato in the opening section is highly effective and overall the piece combines melodic and rhythmic invention.
Dilermando Reis, (1916-1977) was a Brazilian guitarist born in Sao Paulo. He studied the guitar from an early age with his father, Francisco Reis, and by the age of 15, Dilermando was already known as the best guitarist in Sao Paulo.
By 1933 Reis had moved to Rio de Janeiro, where he lived for most of his life, and was prolific in recording over 40 albums.
He enjoyed many kinds of music and recorded pieces from composers as diverse as Bach, Barrios, Tarrega and Gnatalli, among others.
However his first love was for the traditional Brazilian style of music, featuring mainly waltzes and choros full of melodic invention, syncopated rhythms and pleasing modulations.
He was equally prolific as a composer with over 100 of his own compositions, many of which have become standards of Brazilian guitar playing.
'Xodo da Baiana' is typical of his style.
The use of pizzicato in the opening section is highly effective and overall the piece combines melodic and rhythmic invention.
Saturday, December 01, 2007
'Rakes of Kildare' - Robin Hill
Track 17 on 'Virtuoso' is 'Rakes of Kildare', which is a traditional, lively and well known Irish jig.
It is difficult to know for sure the background of the piece and title, but, 'Rakes' could be short for 'rakehell' which stems from the Icelandic word 'reikall' meaning 'wandering or unsettled'.
But 'Rakes' also refers to stylish and spirited young men, whilst 'Kildare' can mean 'Church of the Oaks'.
Whatever the meaning of the title, the piece is a double jig in the Dorian mode.
The version heard here is for guitar and orchestra, one of the movements from Robin's 'Celtic Concerto'.
It is difficult to know for sure the background of the piece and title, but, 'Rakes' could be short for 'rakehell' which stems from the Icelandic word 'reikall' meaning 'wandering or unsettled'.
But 'Rakes' also refers to stylish and spirited young men, whilst 'Kildare' can mean 'Church of the Oaks'.
Whatever the meaning of the title, the piece is a double jig in the Dorian mode.
The version heard here is for guitar and orchestra, one of the movements from Robin's 'Celtic Concerto'.
Friday, November 30, 2007
Robin Hill Plays Romanza
Romanza is a traditional piece of music, and the composer is unknown, but it is one of the most famous of all guitar solos, and loved by audiences everywhere.
It was used in the film, 'Jeux Interdits' (1952), which means 'Forbidden Games', which went on to receive many awards and the music was described as, "haunting score that will be with you forever".
The film is about two French children who become friends during the traumas of World War II, and is a moving and emotional tale of their experiences.
According to Brigitte Fossey who played the little girl, 'Paulette', the film was originally made as a short, and then later extended to a feature length film.
Unfortunately, in the meantime, she had lost her milk teeth, and, Georges Poujouly, who plays the boy Michel, had had his hair cut for another role, so in many of the scenes Paulette has false teeth and Michel is wearing a wig!
In Robin's arrangement of this well known classic, 'Romanza', track 13, starts with a short improvised introduction before playing the melody on the second string and not the first which is more usual. This slight reworking, he felt, made the music more expressive.
I'm bracing myself for a busy weekend.
Robin is playing at three different private functions, son number one has a sleepover party at a friends house, and son number two also has a party...
My role - to make sure they are all in the right place at the right time with the right equipment, (we don't want Robin arriving to play with a sleeping bag, and son trying to sleep in a guitar case), feed, water, and hold all their hands when we arrive at Sunday evening with three exhausted males in the house.......
It was used in the film, 'Jeux Interdits' (1952), which means 'Forbidden Games', which went on to receive many awards and the music was described as, "haunting score that will be with you forever".
The film is about two French children who become friends during the traumas of World War II, and is a moving and emotional tale of their experiences.
According to Brigitte Fossey who played the little girl, 'Paulette', the film was originally made as a short, and then later extended to a feature length film.
Unfortunately, in the meantime, she had lost her milk teeth, and, Georges Poujouly, who plays the boy Michel, had had his hair cut for another role, so in many of the scenes Paulette has false teeth and Michel is wearing a wig!
In Robin's arrangement of this well known classic, 'Romanza', track 13, starts with a short improvised introduction before playing the melody on the second string and not the first which is more usual. This slight reworking, he felt, made the music more expressive.
I'm bracing myself for a busy weekend.
Robin is playing at three different private functions, son number one has a sleepover party at a friends house, and son number two also has a party...
My role - to make sure they are all in the right place at the right time with the right equipment, (we don't want Robin arriving to play with a sleeping bag, and son trying to sleep in a guitar case), feed, water, and hold all their hands when we arrive at Sunday evening with three exhausted males in the house.......
Thursday, November 29, 2007
'Gymnopedie' by Erik Satie - Performed by Robin Hill
Erik Satie (1866-1925) was a French composer best remembered for composing deliberately modest music, however, he was a harmonic innovator, especially in his earlier pieces.
His work influenced many other composers, such as, Debussy, Ravel, Poulenc and Cage.
Satie had a turbulent childhood, his mother died when he was young and he was sent to live with his grandmother, who, shortly after, also died.
He returned to Paris to be with his father, but his father soon remarried, the pianist and Romantic composer, Eugenie Barnetsche, whom Eric disliked.
In 1879 Satie entered the Paris Conservatoire, but he wasn't a good student. He was certainly gifted, but records report him as 'lazy' and 'often absent'. He left the conservatoire early, but did continue to study music through harmony, and then piano classes.
In 1887 Satie wrote three Sarabandes, which probably influenced the Sarabande of Debussy, 'Pour le piano', and, it was in the following year that he wrote the 'Gymnopedies'.
By the early 1890's Satie had joined the flamboyant 'Rose + Croix' artistic movement of which Satie was the official composer. It was during this time that Satie met, and became life long friends with, Debussy.
In 1895 two Gymnopedies were published, on the recommendation of Debussy, who also orchestrated a pair the following year.
Today you can hear Robin's arrangement of this calm and haunting, 'Gymnopedie No.1', which paradoxically is both simple yet highly spiritual and profound.
His work influenced many other composers, such as, Debussy, Ravel, Poulenc and Cage.
Satie had a turbulent childhood, his mother died when he was young and he was sent to live with his grandmother, who, shortly after, also died.
He returned to Paris to be with his father, but his father soon remarried, the pianist and Romantic composer, Eugenie Barnetsche, whom Eric disliked.
In 1879 Satie entered the Paris Conservatoire, but he wasn't a good student. He was certainly gifted, but records report him as 'lazy' and 'often absent'. He left the conservatoire early, but did continue to study music through harmony, and then piano classes.
In 1887 Satie wrote three Sarabandes, which probably influenced the Sarabande of Debussy, 'Pour le piano', and, it was in the following year that he wrote the 'Gymnopedies'.
By the early 1890's Satie had joined the flamboyant 'Rose + Croix' artistic movement of which Satie was the official composer. It was during this time that Satie met, and became life long friends with, Debussy.
In 1895 two Gymnopedies were published, on the recommendation of Debussy, who also orchestrated a pair the following year.
Today you can hear Robin's arrangement of this calm and haunting, 'Gymnopedie No.1', which paradoxically is both simple yet highly spiritual and profound.
Wednesday, November 28, 2007
Robin Hill plays 'El Noy de la Mare' by Miguel Llobet
The classical guitarist and composer Miguel Llobet (1878-1938) started to learn the instrument at the age of 11, and later studied with one of the fathers of modern guitar technique, Francisco Tarrega.
From the 1900's Llobet was in constant demand for recitals and toured extensively in Europe and North and South America.
Whilst in Buenos Aires Llobet formed a guitar duo with Maria Luisa Anido and, for this ensemble, he arranged numerous classical and romantic works.
Llobet's solo transcriptions and arrangements, were a landmark in guitar writing, showing his great understanding of the guitar's capabilities.
He was well respected by other musicians and in fact Falla's tribute to Debussy, 'Homenaje', was composed for Llobet.
Llobet is considered by some to be the teacher of Segovia, however, this has proved quite controversial, and debate continues today.
But Segovia himself frequently mentions Llobet in his autobiography, referring to him as a friend, but also, describing sessions when Llobet taught Segovia, amongst others, pieces, phrase by phrase, as he hadn't yet comitted them to manuscript.
Segovia was still a young man at this stage and I feel sure he must have picked up many practical aspects of Llobet's technique as well as merely learning the notes.
By the end of his career, Llobet had produced more than 100 works for the guitar.
Today you can hear, 'El Noy de la Mare' (The Mother's child/Our lady's child), track 11, which is a traditional Catalan Christmas carol, arranged by Llobet.
This has long been a favourite of guitarists, and Segovia used to frequently perform it as an encore.
Robin has also been performing it for some time and it's beautiful melody never fails to move audiences.
From the 1900's Llobet was in constant demand for recitals and toured extensively in Europe and North and South America.
Whilst in Buenos Aires Llobet formed a guitar duo with Maria Luisa Anido and, for this ensemble, he arranged numerous classical and romantic works.
Llobet's solo transcriptions and arrangements, were a landmark in guitar writing, showing his great understanding of the guitar's capabilities.
He was well respected by other musicians and in fact Falla's tribute to Debussy, 'Homenaje', was composed for Llobet.
Llobet is considered by some to be the teacher of Segovia, however, this has proved quite controversial, and debate continues today.
But Segovia himself frequently mentions Llobet in his autobiography, referring to him as a friend, but also, describing sessions when Llobet taught Segovia, amongst others, pieces, phrase by phrase, as he hadn't yet comitted them to manuscript.
Segovia was still a young man at this stage and I feel sure he must have picked up many practical aspects of Llobet's technique as well as merely learning the notes.
By the end of his career, Llobet had produced more than 100 works for the guitar.
Today you can hear, 'El Noy de la Mare' (The Mother's child/Our lady's child), track 11, which is a traditional Catalan Christmas carol, arranged by Llobet.
This has long been a favourite of guitarists, and Segovia used to frequently perform it as an encore.
Robin has also been performing it for some time and it's beautiful melody never fails to move audiences.
Tuesday, November 27, 2007
Asturias - Isaac Albeniz (1860 - 1909)
'Asturias' is a very special piece of music to Robin, as it was one of the first pieces he heard played on the classical guitar, and, one of his main motivations to learn the instrument.
This occurred whilst listening to the radio, when about 14 years old, and John Peel played The Doors, 'Spanish Caravan'.
Peel then explained that the song starts with the theme from Asturias, and went on to play Segovia performing the piece, which was Robin's inspiration.
Isaac Albeniz was a Spanish pianist and composer who started as a child prodigy.
He gave his first performance at 4 and rumour has it that he was accepted into the Paris Conservatoire at the age of 7, but he broke a window with a ball he was playing with, so was denied admission.
It was Felipe Pedrell who inspired Albeniz to write Spanish music, such as, Suite Espanola, Op.47. of which Asturias (Leyenda) is the 5th movement. Despite originally being composed for piano, it is a very guitaristic piece, and was transcribed for guitar by Tarrega, along with many other pieces.
Albeniz is known to have preferred many of his pieces played on the guitar and Asturias is probably one if the most famous which now has an important position in the classical guitar repertoire.
This is one of my favourite versions of Asturias. The atmospheric build up to the triplets in the first section is incredible, and the dramatic punctuation by the powerful chords really heightens the tension before the calm of the more reflective middle section. The first section is then repeated with a beautiful coda section to complete the movement.
This occurred whilst listening to the radio, when about 14 years old, and John Peel played The Doors, 'Spanish Caravan'.
Peel then explained that the song starts with the theme from Asturias, and went on to play Segovia performing the piece, which was Robin's inspiration.
Isaac Albeniz was a Spanish pianist and composer who started as a child prodigy.
He gave his first performance at 4 and rumour has it that he was accepted into the Paris Conservatoire at the age of 7, but he broke a window with a ball he was playing with, so was denied admission.
It was Felipe Pedrell who inspired Albeniz to write Spanish music, such as, Suite Espanola, Op.47. of which Asturias (Leyenda) is the 5th movement. Despite originally being composed for piano, it is a very guitaristic piece, and was transcribed for guitar by Tarrega, along with many other pieces.
Albeniz is known to have preferred many of his pieces played on the guitar and Asturias is probably one if the most famous which now has an important position in the classical guitar repertoire.
This is one of my favourite versions of Asturias. The atmospheric build up to the triplets in the first section is incredible, and the dramatic punctuation by the powerful chords really heightens the tension before the calm of the more reflective middle section. The first section is then repeated with a beautiful coda section to complete the movement.
Monday, November 26, 2007
A Professor Calls and 'Luna Bianco'
A little light relief for a cold November day.
My grandmother came to spend the day with us here at the weekend.
Over lunch Robin announced that a rather eccentric Professor of music was calling round later in the afternoon.
'Friederich', the prof, specialises in old manuscripts, and had some pieces that he wanted Robin to take a look at.
My grandmother was very excited about this. She worked at a university for many years and has always enjoyed stimulating conversations.
Robin stressed that Friederich was quite a character, and, prone to arriving early for appointments.
He then made a big deal of preparing to take the dogs for a walk, whilst in reality he shut the poor canines in the kitchen, and hid upstairs.
Some time later the doorbell rang and son number one dutifully answered it, making polite conversation with the Professor in the hallway, before bringing him into the lounge and introducing 'Friederich' to 'Gran'.
After initial introductions, the professor pulled out the precious manuscripts from his battered briefcase and proceeded to extol the virtues of this fabulous music.
By this time I had also entered the room, and the prof excitedly pointed out bar 25, and started to sing along as he followed the music with his finger. All done very loudly and with rather eccentric hand gestures.
I left the room as the professor asked my grandmother, "Do you love ze muzic of Ludwig Van Beethoven?"
"Oh yes", she replied.
"Iz ze maestro returned from his valk yet?"
"No, not yet", was my response from the hall where I was taking refuge.
After further small talk and manic gesticulation from the professor, he announced that he needed to play this, 'sublime phrase' on the piano, and left the room.
Poor grandmother was looking decidedly bemused by the whole experience and asked son number one if the Professor was alright.
To which he replied, "Yes, of course".
But we couldn't keep the illusion up any longer, and Robin reappeared, pulling off a wig and glasses as he entered.
Fortunately Gran took it all in the spirit it was intended and hasn't stopped chuckling about it since.
This is the Professor, in all his glory:
The wig was from the children's fancy dress box, and the shirt, well, that's a real 1970's shirt, a memento from a tour Robin did with Atarah Ben Tovim.
I'm just hoping that Robin hasn't taken this outfit over to Leeds University where he's teaching today...
It's also hard to believe that the same professor composed track 14 on Virtuoso.
'Luna Bianco' has a slow bossa nova groove with a short improvised solo in the middle.
The piece was inspired by the music of Antonio Carlos Jobim, which Robin has long admired and loved.
My grandmother came to spend the day with us here at the weekend.
Over lunch Robin announced that a rather eccentric Professor of music was calling round later in the afternoon.
'Friederich', the prof, specialises in old manuscripts, and had some pieces that he wanted Robin to take a look at.
My grandmother was very excited about this. She worked at a university for many years and has always enjoyed stimulating conversations.
Robin stressed that Friederich was quite a character, and, prone to arriving early for appointments.
He then made a big deal of preparing to take the dogs for a walk, whilst in reality he shut the poor canines in the kitchen, and hid upstairs.
Some time later the doorbell rang and son number one dutifully answered it, making polite conversation with the Professor in the hallway, before bringing him into the lounge and introducing 'Friederich' to 'Gran'.
After initial introductions, the professor pulled out the precious manuscripts from his battered briefcase and proceeded to extol the virtues of this fabulous music.
By this time I had also entered the room, and the prof excitedly pointed out bar 25, and started to sing along as he followed the music with his finger. All done very loudly and with rather eccentric hand gestures.
I left the room as the professor asked my grandmother, "Do you love ze muzic of Ludwig Van Beethoven?"
"Oh yes", she replied.
"Iz ze maestro returned from his valk yet?"
"No, not yet", was my response from the hall where I was taking refuge.
After further small talk and manic gesticulation from the professor, he announced that he needed to play this, 'sublime phrase' on the piano, and left the room.
Poor grandmother was looking decidedly bemused by the whole experience and asked son number one if the Professor was alright.
To which he replied, "Yes, of course".
But we couldn't keep the illusion up any longer, and Robin reappeared, pulling off a wig and glasses as he entered.
Fortunately Gran took it all in the spirit it was intended and hasn't stopped chuckling about it since.
This is the Professor, in all his glory:
The wig was from the children's fancy dress box, and the shirt, well, that's a real 1970's shirt, a memento from a tour Robin did with Atarah Ben Tovim.
I'm just hoping that Robin hasn't taken this outfit over to Leeds University where he's teaching today...
It's also hard to believe that the same professor composed track 14 on Virtuoso.
'Luna Bianco' has a slow bossa nova groove with a short improvised solo in the middle.
The piece was inspired by the music of Antonio Carlos Jobim, which Robin has long admired and loved.
Sunday, November 25, 2007
Canarios and Cunard's 'Queen Victoria'
Canarios is a lively and optimistic piece of music which, as the title suggests, hails from the Canary Islands.
Gaspar Sanz (1640-1710) was a dominant figure of Spanish baroque music, and Canarios is taken from Sanz's 'Suite Espagnole'.
Many people will recognise the theme from Joaquin Rodrigo's, 'Fantasia Para Una Gentilhombre', which was composed for Andres Segovia in 1953.
Canarios is such a happy piece that Robin frequently performs it as an encore, which is always very popular.
You can hear Robin playing it here, track 10.
There was an interesting article in the paper today, for anyone of a nautical persuasion, 'Cunard adds 'Queen Victoria' to its fleet', by Richard Grey.
Judging by the pictures and the descriptions on Cunard's site, the Queen Victoria is certainly luxurious.
The Royal Court Theatre looks incredible, with three levels to create a grand auditorium, including private boxes.
The theatre seats over 800, and in early January Robin will be performing a couple of concerts on board.
Still, one of the 352,000 bottles of champagne that are expected to be drunk next year, should help to calm any post concert nerves....
Gaspar Sanz (1640-1710) was a dominant figure of Spanish baroque music, and Canarios is taken from Sanz's 'Suite Espagnole'.
Many people will recognise the theme from Joaquin Rodrigo's, 'Fantasia Para Una Gentilhombre', which was composed for Andres Segovia in 1953.
Canarios is such a happy piece that Robin frequently performs it as an encore, which is always very popular.
You can hear Robin playing it here, track 10.
There was an interesting article in the paper today, for anyone of a nautical persuasion, 'Cunard adds 'Queen Victoria' to its fleet', by Richard Grey.
Judging by the pictures and the descriptions on Cunard's site, the Queen Victoria is certainly luxurious.
The Royal Court Theatre looks incredible, with three levels to create a grand auditorium, including private boxes.
The theatre seats over 800, and in early January Robin will be performing a couple of concerts on board.
Still, one of the 352,000 bottles of champagne that are expected to be drunk next year, should help to calm any post concert nerves....
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