It is an exciting day as The Hill/Wiltschinsky Guitar Duo have released a new CD!
11 Tracks, and all of them are Soler Sonatas.
As a taster I have put the entire track of, 'Sonata No 43 - Allegro' as the first piece on the player in the side bar.
For previews of all the tracks you can visit: 'Hill/Wiltschinsky Duo Soler Sonatas'
Here is a little about the recording:
Antonio Soler (1729-1783)
Antonio Francisco Javier Jose Soler was born in Olat, Gerona in 1729 and was a celebrated composer and organist. He is frequently compared to Domenico Scarlatti, (particularly as at one point he studied with Scarlatti), but Soler’s keyboard sonatas can often be more varied in form than those of Scarlatti.
His musical career started at an early age, when he entered the choir school at Montserrat in 1736.
By 1750 Soler had become maestro de capilla at Lerida and in 1752 was ordained and joined the Escorial community of Jeronymite monks.
It was at this time that he wrote the, ‘Llave de la modulacion’, (Key to Modulation) in which he showed how to move from any major to minor key within moments, the principles of which are still valid today. However, at the time he was criticised for his modern and daring views.
Soler was a highly inventive and adventurous composer whose music exhibited great optimism and energy.
Like Scarlatti, his music is well-suited to the guitar but, unlike Scarlatti, it is rarely performed or recorded on the instrument.
Hill and Wiltschinsky have arranged all the sonatas on this album to give a small insight into his wonderful music.
Follow the link to hear previews of ‘Hill/Wiltschinsky Duo - Soler Sonatas’ and, as I have said, I have added the whole of ‘Sonata No.43 – Allegro’ to the player in the side bar.
The sheet music for these vibrant works will soon be available for download from the Robin Hill site. I'll keep you posted....
Enjoy.
Wednesday, March 24, 2010
Saturday, February 27, 2010
Inspire Young Minds with Music
Earlier in the week Robin performed at our youngest son's school.
This was all part of an excellent scheme, 'Parents at work week', when parents of the school are asked to talk to either a class, year group or the whole school, about their work.
As you can imagine this proves a popular and interesting diversion for the children.
The letter mentioning the project arrived whilst Robin was away on a lengthy trip, so I took the executive decision to put his name forward, to perform for the whole school.
After all, Robin is always keen to talk to children about music and to demonstrate the guitar. Here are three previous posts related to promoting classical music to children: 'The Halle Orchestra, Sarah Connolly and a Meeting with Mark Elder', 'Return to Islay and the need to Promote Classical Music', and 'Arrival in Peru and the Liverpool Philharmonic'.
He is also very aware that sometimes this may be their first experience of classical music, so it's a role he takes seriously.
Plus, he did the same for the eldest son a few years ago...
The fact that the audiences ages ranged for 4-7 years didn't stop Robin treating it like any other concert, albeit a short one.
He prepared in the same way he would for for any concert.
He also gave a great deal of thought to the programme.
He wanted to demonstrate to the children the versatility of the guitar and allow a little time to talk to them about each piece.
All 200 children were seated in the hall when Robin appeared from the music room where he had been warming his fingers up with some scales and arpeggios.
He started by asking them what the instrument was he was holding.
Thankfully they all knew it was a guitar, except for one child who thought it might be a large violin...
However they didn't know the term classical or Spanish guitar. This gave Robin the opportunity to briefly talk about the origins of the guitar in Spain and led nicely into the introduction for the lively flamenco dance, Malaguena.
They loved it and I think many were surprised by the sheer power of Robin's guitar in the large hall.
After some enthusiastic cheering Robin decided to play them a piece in a very different style, and explained that this was an Italian Renaissance Lute piece, over 500 years old.
This beautiful 'Preludio' was also very well received and paved the way for the next item which was the prelude from the first Cello Suite by Johann Sebastian Bach. Robin explained that Bach was born in 1685, which was a very good year for composers, as small children, and in fact adults, like this sort of detail.
One thing Robin has realised over the years, is that when performing to children, one shouldn't underestimate them. Maybe consider the length of pieces played, but not the content.
Children are ripe for inspiring, and introducing them to what could potentially be a lifetimes enjoyment of music, is a heavy responsibility.
All children need to be given the chance to at least try.
After the Bach it was time to demonstrate the guitar's versatility even further.
A bit of rock and roll.
A basic rock shuffle and then, naturally, a little Deep Purple, with 'Smoke on the Water'.
Initially Robin showed them how an electric guitarist would play it, as if he was using a plectrum, then as a classical guitarist, plucking strings individually and introducing a bass line.
Cheers and shouts followed.
As time was rapidly passing there was a quick demonstration of some film music, with the Pink Panther...which they all recognised.
Then a little discussion on the great art of the tremelo.
An ideal way to show this difficult technique is through the piece, 'Recuerdos de la Alhambra'.
Many people often think that it is two guitars playing, but in fact it is one, with the bass line accompanying the melody on top.
Robin started by showing the children, firstly very slowly and then faster and faster until he reached the desired tempo.
Finally it was time to call upon the duties of son number two.
He had been waiting patiently amongst the audience for his stage debut as engineer.
Robin asked if the children knew that a guitar could play with an orchestra.
They either didn't know or weren't prepared to say...
So Robin was able to tell them that he had an entire orchestra here in his computer, which doesn't replace a real orchestra but that would give them an idea of just how fantastic guitar and orchestra can be.
The 'Adagio' for Rodrigo's 'Concierto de Aranjuez' followed, beautifully executed by both musician and engineer. Given that only one rehearsal had taken place this had been rather a worry.
Obviously we were forgetting that the poor child has heard this piece, pretty much constantly, since before he was born.
Even though the school bell rang in the middle, a hazard of performing in schools, the whole event was much appreciated.
The children love the whole thing and have continued to tell youngest just how fantastic his Dad is, ever since. Gaining extra kudos in the playground has been a nice little extra.
The teachers also enjoyed it and the head mistress said she wished they could end every school day listening to such beautiful music.
It's so important to allow our children to hear music of all styles, and to give these children the opportunity to see a musician live is a chance that schools should take when offered.
There isn't a better way to stimulate interest and inspire these young minds.
Since then, many parents have approached me to say how much their child had enjoyed the music and a few have said their child now wants to learn the guitar.
One poor parent however was dismayed.
His children had gone home and told him just how much they had enjoyed hearing Robin play and how this was going to be a hard act to follow.
Given that they are the children of the senior school headmaster, and he was scheduled to speak later in the week, it did make me smile.
This was all part of an excellent scheme, 'Parents at work week', when parents of the school are asked to talk to either a class, year group or the whole school, about their work.
As you can imagine this proves a popular and interesting diversion for the children.
The letter mentioning the project arrived whilst Robin was away on a lengthy trip, so I took the executive decision to put his name forward, to perform for the whole school.
After all, Robin is always keen to talk to children about music and to demonstrate the guitar. Here are three previous posts related to promoting classical music to children: 'The Halle Orchestra, Sarah Connolly and a Meeting with Mark Elder', 'Return to Islay and the need to Promote Classical Music', and 'Arrival in Peru and the Liverpool Philharmonic'.
He is also very aware that sometimes this may be their first experience of classical music, so it's a role he takes seriously.
Plus, he did the same for the eldest son a few years ago...
The fact that the audiences ages ranged for 4-7 years didn't stop Robin treating it like any other concert, albeit a short one.
He prepared in the same way he would for for any concert.
He also gave a great deal of thought to the programme.
He wanted to demonstrate to the children the versatility of the guitar and allow a little time to talk to them about each piece.
All 200 children were seated in the hall when Robin appeared from the music room where he had been warming his fingers up with some scales and arpeggios.
He started by asking them what the instrument was he was holding.
Thankfully they all knew it was a guitar, except for one child who thought it might be a large violin...
However they didn't know the term classical or Spanish guitar. This gave Robin the opportunity to briefly talk about the origins of the guitar in Spain and led nicely into the introduction for the lively flamenco dance, Malaguena.
They loved it and I think many were surprised by the sheer power of Robin's guitar in the large hall.
After some enthusiastic cheering Robin decided to play them a piece in a very different style, and explained that this was an Italian Renaissance Lute piece, over 500 years old.
This beautiful 'Preludio' was also very well received and paved the way for the next item which was the prelude from the first Cello Suite by Johann Sebastian Bach. Robin explained that Bach was born in 1685, which was a very good year for composers, as small children, and in fact adults, like this sort of detail.
One thing Robin has realised over the years, is that when performing to children, one shouldn't underestimate them. Maybe consider the length of pieces played, but not the content.
Children are ripe for inspiring, and introducing them to what could potentially be a lifetimes enjoyment of music, is a heavy responsibility.
All children need to be given the chance to at least try.
After the Bach it was time to demonstrate the guitar's versatility even further.
A bit of rock and roll.
A basic rock shuffle and then, naturally, a little Deep Purple, with 'Smoke on the Water'.
Initially Robin showed them how an electric guitarist would play it, as if he was using a plectrum, then as a classical guitarist, plucking strings individually and introducing a bass line.
Cheers and shouts followed.
As time was rapidly passing there was a quick demonstration of some film music, with the Pink Panther...which they all recognised.
Then a little discussion on the great art of the tremelo.
An ideal way to show this difficult technique is through the piece, 'Recuerdos de la Alhambra'.
Many people often think that it is two guitars playing, but in fact it is one, with the bass line accompanying the melody on top.
Robin started by showing the children, firstly very slowly and then faster and faster until he reached the desired tempo.
Finally it was time to call upon the duties of son number two.
He had been waiting patiently amongst the audience for his stage debut as engineer.
Robin asked if the children knew that a guitar could play with an orchestra.
They either didn't know or weren't prepared to say...
So Robin was able to tell them that he had an entire orchestra here in his computer, which doesn't replace a real orchestra but that would give them an idea of just how fantastic guitar and orchestra can be.
The 'Adagio' for Rodrigo's 'Concierto de Aranjuez' followed, beautifully executed by both musician and engineer. Given that only one rehearsal had taken place this had been rather a worry.
Obviously we were forgetting that the poor child has heard this piece, pretty much constantly, since before he was born.
Even though the school bell rang in the middle, a hazard of performing in schools, the whole event was much appreciated.
The children love the whole thing and have continued to tell youngest just how fantastic his Dad is, ever since. Gaining extra kudos in the playground has been a nice little extra.
The teachers also enjoyed it and the head mistress said she wished they could end every school day listening to such beautiful music.
It's so important to allow our children to hear music of all styles, and to give these children the opportunity to see a musician live is a chance that schools should take when offered.
There isn't a better way to stimulate interest and inspire these young minds.
Since then, many parents have approached me to say how much their child had enjoyed the music and a few have said their child now wants to learn the guitar.
One poor parent however was dismayed.
His children had gone home and told him just how much they had enjoyed hearing Robin play and how this was going to be a hard act to follow.
Given that they are the children of the senior school headmaster, and he was scheduled to speak later in the week, it did make me smile.
Monday, February 22, 2010
Abbey Road Studios - The Right Decision
After completing this post I heard via LondonJazz that EMI had released a statement and that Abbey Road was not for sale after all.
Whilst I'm delighted at this news I felt that some of the points I made in the original post could actually apply to the world of classical music in general.
So I decided to run it anyway, with a little of the ire removed....
There has been so much written about Abbey Road Studios in the last week, and rightly so.
The fear of the famous studios being sold off by EMI has caused outrage from supporters.
Beatles fans are in a frenzy at the potential loss of their sacred meeting point.
But Abbey Road is so much more than The Beatles alone.
After opening in 1931 Sir Edward Elgar conducted the London Symphony Orchestra whilst recording his own works.
Many, many others have used the facilities including the British conductor Sir Malcolm Sargent, Yehudi Menuhin and Andres Segovia.
The studios are not only used for recording, but also for remastering and occasionally, as a rehearsal place for many orchestras (more of that in a minute...)
The argument that the digital revolution has allowed musicians to record from home doesn't stand up to close scrutiny.
Yes, many artists can, and do, record at home, but how many homes do you know that can accommodate the 90+ musicians that make up an orchestra?
And yes, you can use software programmes to simulate an orchestra. But whilst these are an excellent tool for the composer, and useful for generating interest, they can't replace the musicality and energy produced by real musicians.
Also, the independent sector need to consider the consequences of their disdain for record companies.
Classical musicians need record companies.
Anyone wanting to record a concerto requires an orchestra.
To record with that orchestra you need a large recording studio.
Both of these are expensive commodities and as we know for our own sorry situation last year, (London Symphony Orchestra at the ready, Abbey Road pencilled in, but the funding elusive) unless you are backed by a record company, funding is virtually impossible to get.
Most available funding won't be issued to an individual artist, so unless you can find private backing the situation is not good.
Whilst this digresses from the Abbey Road situation the two are connected.
Do we really want to find ourselves in the situation when the only orchestral recordings available are old ones?
Music is essential to every one's well being.
New compositions are essential to future generations.
Recording studios are essential to the whole process, and Abbey Road has the ability to draw in more musicians than practically any other studio around.
The argument that Abbey Road isn't busy enough also seems rather evasive.
Numerous film scores are recorded there every year and you often read, from twitter alone, the various orchestras that are frequenting the premises.
The men in suits behind this decision need to think very carefully.
Money is important but so is history and musical heritage....remember the Cavern Club demolished only to be rebuilt a few years' later..on the same street?
Maybe they need to look more closely at alternative options.
Instead of focusing purely on finances, they should use the power and inspirational features that Abbey Road has to offer to inject a new enthusiasm into an ailing world of classical music.
The best case scenario would be for Abbey Road to continue as a recording studio, maybe opening their doors to other functions as an alternative way to procure income.
Another option is the interest shown by the National Trust.
They could, potentially at least, keep the doors open as a museum.
Whilst this wouldn't be ideal, it would be better than losing the site completely.
Alternatively, there may be a private buyer.
In this case the world will be at their mercy.
They may decide to keep it as a studio, but they may also choose to alter it's function completely.
Heaven forbid that Abbey Road studios become apartments for a select few...
To return to Abbey Road being used as a rehearsal place for orchestras. Surely there is potential for more bookings this way.
I know from experience that Robin rehearsed there with the BBC Philharmonic in preparation for a, 'Proms in the Park' performance.
The sense of history was awe inspiring.
However, it didn't prevent Robin from breaking into Jimi Hendrix's 'Voodoo Child', complete with waa waa pedal. This caused mirth and encouragement form some sections of the orchestra and disapproving glances form others....
But this is the sort of incident that makes Abbey Road unique.
So many musicians have passed through their doors, each creating their own memories and contributing to its illustrious history.
Record companies should maybe consider the old Cree Indian saying, "Only when the last tree has died and the last river been polluted and the last fish caught will we realise we can't eat money."
The world should take note.
If Abbey Road goes, so will so much more.
What Abbey Road has achieved is irreplaceable.
If you feel strongly and wish your voice to be heard, now is the time to shout.
A good starting point would be to add your name to the 'Save Abbey Road Petition', here's the link.
And finally, to inspire you whilst you shout, and if you want to add an extra twist....
As I said at the start of this post, EMI have announced that they are not selling Abbey Road studios. I left these particular links in place as some of you may be interested in the comments and mood of the general public. Also, as a reminder to EMI of the strength of public opinion, in case they should change their mind.
Whilst I'm delighted at this news I felt that some of the points I made in the original post could actually apply to the world of classical music in general.
So I decided to run it anyway, with a little of the ire removed....
There has been so much written about Abbey Road Studios in the last week, and rightly so.
The fear of the famous studios being sold off by EMI has caused outrage from supporters.
Beatles fans are in a frenzy at the potential loss of their sacred meeting point.
But Abbey Road is so much more than The Beatles alone.
After opening in 1931 Sir Edward Elgar conducted the London Symphony Orchestra whilst recording his own works.
Many, many others have used the facilities including the British conductor Sir Malcolm Sargent, Yehudi Menuhin and Andres Segovia.
The studios are not only used for recording, but also for remastering and occasionally, as a rehearsal place for many orchestras (more of that in a minute...)
The argument that the digital revolution has allowed musicians to record from home doesn't stand up to close scrutiny.
Yes, many artists can, and do, record at home, but how many homes do you know that can accommodate the 90+ musicians that make up an orchestra?
And yes, you can use software programmes to simulate an orchestra. But whilst these are an excellent tool for the composer, and useful for generating interest, they can't replace the musicality and energy produced by real musicians.
Also, the independent sector need to consider the consequences of their disdain for record companies.
Classical musicians need record companies.
Anyone wanting to record a concerto requires an orchestra.
To record with that orchestra you need a large recording studio.
Both of these are expensive commodities and as we know for our own sorry situation last year, (London Symphony Orchestra at the ready, Abbey Road pencilled in, but the funding elusive) unless you are backed by a record company, funding is virtually impossible to get.
Most available funding won't be issued to an individual artist, so unless you can find private backing the situation is not good.
Whilst this digresses from the Abbey Road situation the two are connected.
Do we really want to find ourselves in the situation when the only orchestral recordings available are old ones?
Music is essential to every one's well being.
New compositions are essential to future generations.
Recording studios are essential to the whole process, and Abbey Road has the ability to draw in more musicians than practically any other studio around.
The argument that Abbey Road isn't busy enough also seems rather evasive.
Numerous film scores are recorded there every year and you often read, from twitter alone, the various orchestras that are frequenting the premises.
The men in suits behind this decision need to think very carefully.
Money is important but so is history and musical heritage....remember the Cavern Club demolished only to be rebuilt a few years' later..on the same street?
Maybe they need to look more closely at alternative options.
Instead of focusing purely on finances, they should use the power and inspirational features that Abbey Road has to offer to inject a new enthusiasm into an ailing world of classical music.
The best case scenario would be for Abbey Road to continue as a recording studio, maybe opening their doors to other functions as an alternative way to procure income.
Another option is the interest shown by the National Trust.
They could, potentially at least, keep the doors open as a museum.
Whilst this wouldn't be ideal, it would be better than losing the site completely.
Alternatively, there may be a private buyer.
In this case the world will be at their mercy.
They may decide to keep it as a studio, but they may also choose to alter it's function completely.
Heaven forbid that Abbey Road studios become apartments for a select few...
To return to Abbey Road being used as a rehearsal place for orchestras. Surely there is potential for more bookings this way.
I know from experience that Robin rehearsed there with the BBC Philharmonic in preparation for a, 'Proms in the Park' performance.
The sense of history was awe inspiring.
However, it didn't prevent Robin from breaking into Jimi Hendrix's 'Voodoo Child', complete with waa waa pedal. This caused mirth and encouragement form some sections of the orchestra and disapproving glances form others....
But this is the sort of incident that makes Abbey Road unique.
So many musicians have passed through their doors, each creating their own memories and contributing to its illustrious history.
Record companies should maybe consider the old Cree Indian saying, "Only when the last tree has died and the last river been polluted and the last fish caught will we realise we can't eat money."
The world should take note.
If Abbey Road goes, so will so much more.
What Abbey Road has achieved is irreplaceable.
If you feel strongly and wish your voice to be heard, now is the time to shout.
A good starting point would be to add your name to the 'Save Abbey Road Petition', here's the link.
And finally, to inspire you whilst you shout, and if you want to add an extra twist....
As I said at the start of this post, EMI have announced that they are not selling Abbey Road studios. I left these particular links in place as some of you may be interested in the comments and mood of the general public. Also, as a reminder to EMI of the strength of public opinion, in case they should change their mind.
Tuesday, February 16, 2010
Robin Hill & Izzy Cooper Recording & Concerts on the QM2
The onset of 2010 has been a busy one.
After a snowy start, and precarious journey to Dewsbury, for a highly successful lunchtime concert, Robin set off for a week in London recording with soprano Izzy Cooper.
I'm listening to the recording as I write and I know you will all love it.
Robin and Izzy have performed many times together, and due to high demand this classical guitar/vocal album will be released in 2010.
With everything from the sweetness of Rodrigo's 'En Aranjuez Con Tu Amor', the raunchy flamenco of de Falla and a Robin Hill original, 'Cancion', there really is an eclectic mix.
It was an intense week, recording all day with the evenings spent preparing for the next session.
This was made all the more difficult by the death of my Grandmother. She and Robin had a very special relationship, as can be seen by this post, 'A Professor Calls and Lunar Bianco'. But professional as ever, the recording went on, and when you hear the words to 'Cancion', you will hear how difficult this must have been.
So it was a very tired guitarist that arrived home in the early hours of Saturday 23rd of January. This didn't prevent us spending an hour or so listening to his weeks work accompanied by the dawn chorus.
But by the 26th Robin was off once again.
This time flying to Dubai to join the Queen Mary 2, for an extensive trip visiting Cochin, Phuket, Penang, Port Kelang, Singapore, Laem Chabang, Vung Tau and finally Hong Kong.
Four concerts were performed in the beautiful Royal Court Theatre and with four different programmes Robin was kept very busy.
However, it wasn't all work.
Over the 2 1/2 weeks he met up with some old friends.
First there was the fabulous and extremely talented magician, Brett Sherwood.
The two get on very well and discovered they had a mutual interest in table tennis.
During one of their games some passing passengers stopped to watch.
They couldn't resist asking Brett if he could make the ball disappear. Sure enough, quick as a flash, the said ball disappeared before their eyes, only to to reappear a few seconds later.
This was a virtuoso performance by Brett and made Robin's task of beating him at table tennis all the more difficult.
The next time I'm in a pub with Brett I shall be plying him with drinks until he tells me how he does it!
I'm also very grateful to Simeon Wood, another old friend who was also on the QM2, and in fact left the same day as Robin. After completing his own gruelling 13 hour flight from Hong Kong he took the time to 'phone me and make sure I was aware that Robin's flight had been delayed and that he had therefore missed his connection.
All the more ironic as a few weeks previously he had been laughing about the fact that travelling with Robin always seem to result in some form of disruption.
Believe me, I know.
But now he is home, for a while anyway, and the house is once again filled with the sound of the guitar.
After a snowy start, and precarious journey to Dewsbury, for a highly successful lunchtime concert, Robin set off for a week in London recording with soprano Izzy Cooper.
I'm listening to the recording as I write and I know you will all love it.
Robin and Izzy have performed many times together, and due to high demand this classical guitar/vocal album will be released in 2010.
With everything from the sweetness of Rodrigo's 'En Aranjuez Con Tu Amor', the raunchy flamenco of de Falla and a Robin Hill original, 'Cancion', there really is an eclectic mix.
It was an intense week, recording all day with the evenings spent preparing for the next session.
This was made all the more difficult by the death of my Grandmother. She and Robin had a very special relationship, as can be seen by this post, 'A Professor Calls and Lunar Bianco'. But professional as ever, the recording went on, and when you hear the words to 'Cancion', you will hear how difficult this must have been.
So it was a very tired guitarist that arrived home in the early hours of Saturday 23rd of January. This didn't prevent us spending an hour or so listening to his weeks work accompanied by the dawn chorus.
But by the 26th Robin was off once again.
This time flying to Dubai to join the Queen Mary 2, for an extensive trip visiting Cochin, Phuket, Penang, Port Kelang, Singapore, Laem Chabang, Vung Tau and finally Hong Kong.
Four concerts were performed in the beautiful Royal Court Theatre and with four different programmes Robin was kept very busy.
However, it wasn't all work.
Over the 2 1/2 weeks he met up with some old friends.
First there was the fabulous and extremely talented magician, Brett Sherwood.
The two get on very well and discovered they had a mutual interest in table tennis.
During one of their games some passing passengers stopped to watch.
They couldn't resist asking Brett if he could make the ball disappear. Sure enough, quick as a flash, the said ball disappeared before their eyes, only to to reappear a few seconds later.
This was a virtuoso performance by Brett and made Robin's task of beating him at table tennis all the more difficult.
The next time I'm in a pub with Brett I shall be plying him with drinks until he tells me how he does it!
I'm also very grateful to Simeon Wood, another old friend who was also on the QM2, and in fact left the same day as Robin. After completing his own gruelling 13 hour flight from Hong Kong he took the time to 'phone me and make sure I was aware that Robin's flight had been delayed and that he had therefore missed his connection.
All the more ironic as a few weeks previously he had been laughing about the fact that travelling with Robin always seem to result in some form of disruption.
Believe me, I know.
But now he is home, for a while anyway, and the house is once again filled with the sound of the guitar.
Monday, February 01, 2010
Lawson Trio - Purcell Room
Whilst Robin is away performing in far flung countries it gives me the opportunity to tell you about an exciting concert coming up this month.
As regular readers know, we actively encourage young people to become involved in music.
So it was a delight over the Christmas period to spend a few hours with our friend, the pianist, Annabelle Lawson, and to discuss a project she has been working on for months.
Annabelle's enthusiasm and dedication to her instrument is remarkable, making her, and the rest of the trio, ideal representatives of the 'Chamber Music 2000 Scheme', initiated by the 'Schubert Ensemble' some 10 years ago. Hardly surprising really, when your Dad is the concert pianist, Peter Lawson!
This gala performance marks the culmination of 4 months of chamber music workshops, run by the Lawson Trio, and will feature 11 world premieres, plus performances by the Lawson Trio and the Schubert Ensemble.
There will also be student groups from 6 institutes including the 'Junior Royal Academy of Music', the 'Purcell School' and 'King's College, Cambridge'.
It promises to be a fantastic evening and an ideal opportunity, to hear the Lawson Trio and the Schubert Ensemble, but also to encourage a new generation of aspiring musicians.
The place to be, the Purcell Room, Southbank Centre, Wednesday 10th February, 7.45pm.
More details here.
As regular readers know, we actively encourage young people to become involved in music.
So it was a delight over the Christmas period to spend a few hours with our friend, the pianist, Annabelle Lawson, and to discuss a project she has been working on for months.
Annabelle's enthusiasm and dedication to her instrument is remarkable, making her, and the rest of the trio, ideal representatives of the 'Chamber Music 2000 Scheme', initiated by the 'Schubert Ensemble' some 10 years ago. Hardly surprising really, when your Dad is the concert pianist, Peter Lawson!
This gala performance marks the culmination of 4 months of chamber music workshops, run by the Lawson Trio, and will feature 11 world premieres, plus performances by the Lawson Trio and the Schubert Ensemble.
There will also be student groups from 6 institutes including the 'Junior Royal Academy of Music', the 'Purcell School' and 'King's College, Cambridge'.
It promises to be a fantastic evening and an ideal opportunity, to hear the Lawson Trio and the Schubert Ensemble, but also to encourage a new generation of aspiring musicians.
The place to be, the Purcell Room, Southbank Centre, Wednesday 10th February, 7.45pm.
More details here.
Friday, January 15, 2010
Anna Hill's 'Unofficial' Desert Island Discs
Back in 2007 I wrote the post, 'Robin Hill's 'Unofficial' Desert Island Discs'.
For those unfamiliar with the Radio 4 programme, you can read all about it here.
After this blog post I was asked by a Twitter friend, egoboss, what my choices would be...
As one of the founders of the personalized news site 'Ensembli', and also the online business development company, 'Egoboss', and after a nudge from Carl over Christmas, I thought I better get on with it.
So over the holiday period I gave it some thought.
I must say the task was far harder than I had initially anticipated.
A lifetime of listening to music, and being involved in the music industry, makes narrowing down to just 8 pieces a real challenge.
But here are my choices:
1) Take Five: Dave Brubeck Quartet
'Take Five' was written bu Paul Desmond and performed and recorded by the Dave Brubeck Quartet on numerous occasions. Written in 5/4 time it has endured as a jazz classic.
This piece of music is so familiar to me and brings comfort and sorrow in equal measures.
As I grew up this piece was repeatedly played by my stepfather, Tony. Looking back I now realise what a significant role he played in my musical education.
He had exceptionally eclectic tastes, and many hours were spent listening to all styles of music.
This partially resulted in my musical tastes being completely out of step with my generation, which was possibly one of the greatest favours he did me.
To hear music from all eras and styles was the best education I could have asked for.
Take Five was such a significant piece to all in our family, that on the terribly sad occasion of Tony's funeral, Robin performed his own arrangement of 'Take Five', live, accompanied by saxophonist, Munch Manship.
How they ever managed to perform so beautifully under such sad and emotional conditions I shall never know, but will always be very grateful. My only regret being that Tony wasn't able to hear it as he would have been delighted.
2) Schubert Piano Trio No.2 in E flat major, D929 (Op.100)
Franz Schubert (1797-1828) was a prolific, Austrian composer known for his melodic and harmonic writing.
As the rules of 'Desert Island Discs' only allow me one movement, it is without hesitation that I choose the 2nd movement, Andante con moto.
I actually remember the very first time I heard this movement.
I was driving the car with the radio on and despite reaching my destination I simply couldn't turn the radio off. I remained in the car until the piece had finished, and was consequently late for a lecture, but it was worth it!
3) The Beatles: All My Loving
Anyone who knows me will not be surprised to find a Beatles track in my list.
It's another example of being out of kilter with my peers as I was only a baby when The Beatles split.
The problem was choosing a song.
It could have been 'Something', 'She's Leaving Home', 'Here Comes the Sun', 'Eleanor Rigby' or any of them really.
But choose one I must, so I have decided on, 'All My Loving'.
The reason being that the energy and enthusiasm of The Beatles shines through, even though the song was written in 1963!
4) 'Eternal Dance' by Robin Hill
I am in the enviable position of being married to a musician. People generally seem very interested in musicians, which is one of the reasons this blog started in the first place!
But Robin is not only a performing musician but also a composer.
I added 'Eternal Dance' to the list, not out of a sense of loyalty, but, because I think it is the first movement of a fantastic concerto.
As Sir Thomas Beecham (1879-1961) said, "Composers should write tunes the chauffeurs and errand boys can whistle."
'Eternal Dance' certainly fulfills this requirement as our chauffeurs and errand boys have never ceased to whistle it since its creation....
You can read more about 'Eternal Dance' here.
Needless to say, if any orchestras are interested in adding the concerto to their programme then please feel free to get in touch, and likewise, if any guitarists out there are interested in performing or recording this new and exciting guitar concerto, don't hesitate to contact me!
5) 'God Only Knows' The Beach Boys
The Beach Boys released 'God Only Knows' in 1966. Its complicated melodic structure and vocal harmonies made it one of the most technically sophisticated songs of the time.
As Sir Paul McCartney is known to have listed it as one of his favourite songs, then I'm in good company.
It's also one of the songs I have listened to for most of my life and continue to listen to today.
6)Violin Concerto in D minor Op.47: Jean Sibelius
The Finnish composer Jean Sibelius made his mark early in my musical development.
The movement I choose , I, Allegro Moderato, would often be played when I was home alone as a teenager, loudly, whilst I marvelled at the sheer brilliance of the music.
7) 'Say a Little Prayer' Aretha Franklin
Aretha Franklin has to be the greatest soul singer of all time.
This is a difficult song to sing, and believe me I've tried...
If you haven't got a copy in your collection then I suggest you rectify that immediately.
And finally,
8) 'Hissing of Summer Lawns' Joni Mitchell
Both Robin and I love all Joni's work, particularly from 'Court and Spark' to 'Travelogue' and consider her one of the greatest song writers of our times.
The track 'Hissing of Summer Lawns' from the album of the same name is on the list because it is a highly significant song for Robin and I. Say no more.
I am also allowed to take a book.
I have selected, 'Crime and Punishment' by Fyodor Dostoevsky.
I have read this before, many years ago, and it is such an incredible story that I would like to read it again.
My luxury item:
This would have to be a never ending supply of writing paper and a fountain pen with a lifetime's supply of ink.
If I'm going to be stranded on a desert island at least I would finally have time to write all the stories that constantly circulate in my imagination!
So there you are, a small insight into my musical tastes....
For those unfamiliar with the Radio 4 programme, you can read all about it here.
After this blog post I was asked by a Twitter friend, egoboss, what my choices would be...
As one of the founders of the personalized news site 'Ensembli', and also the online business development company, 'Egoboss', and after a nudge from Carl over Christmas, I thought I better get on with it.
So over the holiday period I gave it some thought.
I must say the task was far harder than I had initially anticipated.
A lifetime of listening to music, and being involved in the music industry, makes narrowing down to just 8 pieces a real challenge.
But here are my choices:
1) Take Five: Dave Brubeck Quartet
'Take Five' was written bu Paul Desmond and performed and recorded by the Dave Brubeck Quartet on numerous occasions. Written in 5/4 time it has endured as a jazz classic.
This piece of music is so familiar to me and brings comfort and sorrow in equal measures.
As I grew up this piece was repeatedly played by my stepfather, Tony. Looking back I now realise what a significant role he played in my musical education.
He had exceptionally eclectic tastes, and many hours were spent listening to all styles of music.
This partially resulted in my musical tastes being completely out of step with my generation, which was possibly one of the greatest favours he did me.
To hear music from all eras and styles was the best education I could have asked for.
Take Five was such a significant piece to all in our family, that on the terribly sad occasion of Tony's funeral, Robin performed his own arrangement of 'Take Five', live, accompanied by saxophonist, Munch Manship.
How they ever managed to perform so beautifully under such sad and emotional conditions I shall never know, but will always be very grateful. My only regret being that Tony wasn't able to hear it as he would have been delighted.
2) Schubert Piano Trio No.2 in E flat major, D929 (Op.100)
Franz Schubert (1797-1828) was a prolific, Austrian composer known for his melodic and harmonic writing.
As the rules of 'Desert Island Discs' only allow me one movement, it is without hesitation that I choose the 2nd movement, Andante con moto.
I actually remember the very first time I heard this movement.
I was driving the car with the radio on and despite reaching my destination I simply couldn't turn the radio off. I remained in the car until the piece had finished, and was consequently late for a lecture, but it was worth it!
3) The Beatles: All My Loving
Anyone who knows me will not be surprised to find a Beatles track in my list.
It's another example of being out of kilter with my peers as I was only a baby when The Beatles split.
The problem was choosing a song.
It could have been 'Something', 'She's Leaving Home', 'Here Comes the Sun', 'Eleanor Rigby' or any of them really.
But choose one I must, so I have decided on, 'All My Loving'.
The reason being that the energy and enthusiasm of The Beatles shines through, even though the song was written in 1963!
4) 'Eternal Dance' by Robin Hill
I am in the enviable position of being married to a musician. People generally seem very interested in musicians, which is one of the reasons this blog started in the first place!
But Robin is not only a performing musician but also a composer.
I added 'Eternal Dance' to the list, not out of a sense of loyalty, but, because I think it is the first movement of a fantastic concerto.
As Sir Thomas Beecham (1879-1961) said, "Composers should write tunes the chauffeurs and errand boys can whistle."
'Eternal Dance' certainly fulfills this requirement as our chauffeurs and errand boys have never ceased to whistle it since its creation....
You can read more about 'Eternal Dance' here.
Needless to say, if any orchestras are interested in adding the concerto to their programme then please feel free to get in touch, and likewise, if any guitarists out there are interested in performing or recording this new and exciting guitar concerto, don't hesitate to contact me!
5) 'God Only Knows' The Beach Boys
The Beach Boys released 'God Only Knows' in 1966. Its complicated melodic structure and vocal harmonies made it one of the most technically sophisticated songs of the time.
As Sir Paul McCartney is known to have listed it as one of his favourite songs, then I'm in good company.
It's also one of the songs I have listened to for most of my life and continue to listen to today.
6)Violin Concerto in D minor Op.47: Jean Sibelius
The Finnish composer Jean Sibelius made his mark early in my musical development.
The movement I choose , I, Allegro Moderato, would often be played when I was home alone as a teenager, loudly, whilst I marvelled at the sheer brilliance of the music.
7) 'Say a Little Prayer' Aretha Franklin
Aretha Franklin has to be the greatest soul singer of all time.
This is a difficult song to sing, and believe me I've tried...
If you haven't got a copy in your collection then I suggest you rectify that immediately.
And finally,
8) 'Hissing of Summer Lawns' Joni Mitchell
Both Robin and I love all Joni's work, particularly from 'Court and Spark' to 'Travelogue' and consider her one of the greatest song writers of our times.
The track 'Hissing of Summer Lawns' from the album of the same name is on the list because it is a highly significant song for Robin and I. Say no more.
I am also allowed to take a book.
I have selected, 'Crime and Punishment' by Fyodor Dostoevsky.
I have read this before, many years ago, and it is such an incredible story that I would like to read it again.
My luxury item:
This would have to be a never ending supply of writing paper and a fountain pen with a lifetime's supply of ink.
If I'm going to be stranded on a desert island at least I would finally have time to write all the stories that constantly circulate in my imagination!
So there you are, a small insight into my musical tastes....
Friday, January 08, 2010
Lunchtime Chamber Concert - Robin Hill
If you are in Yorkshire then I know the perfect place for you to be on Wednesday 13th January at 12.30pm, Dewsbury Town Hall.
As regular readers are all too aware, it isn't often that Robin performs in the UK, so this is an excellent opportunity!
Although only an hour long, as is traditional for lunchtime recitals, it is certainly an eventful hour.
The programme features, amongst many others, Tarrega, Llobet, Dilermando Reis, Albeniz, J.S.Bach, Villa-Lobos and, of course, Hill.
Robin has performed at Dewsbury Town Hall a number of times before. Here is the post I wrote after the 2007 concert, 'Fasten Your Seat belts - Robin Hill Live in Dewsbury'.
As Kirklees Council have said in their advertising, "Robin's concerts at the Town Hall have been so popular that we felt we just had to have him back!"
For contact and venue details visit here.
As regular readers are all too aware, it isn't often that Robin performs in the UK, so this is an excellent opportunity!
Although only an hour long, as is traditional for lunchtime recitals, it is certainly an eventful hour.
The programme features, amongst many others, Tarrega, Llobet, Dilermando Reis, Albeniz, J.S.Bach, Villa-Lobos and, of course, Hill.
Robin has performed at Dewsbury Town Hall a number of times before. Here is the post I wrote after the 2007 concert, 'Fasten Your Seat belts - Robin Hill Live in Dewsbury'.
As Kirklees Council have said in their advertising, "Robin's concerts at the Town Hall have been so popular that we felt we just had to have him back!"
For contact and venue details visit here.
Thursday, December 31, 2009
Review of 2009
As is traditional at this time of year, I have decided to do a quick review, and highlight some of the most popular blog posts.
2009 has certainly been busy.
Despite global recession Robin has travelled to over 30 countries (I gave up counting in the end...) and performed to many thousands of people.
It is always a delight when Robin receives comments and feedback after a concert, and when someone goes to the trouble of seeking the artist out to express their enthusiasm, it is even more rewarding.
It hasn't all been good though.
We have been plagued by 'pirates' with well in excess of 10 000 illegal downloads, and those are the ones I know about.
Not unrelated, as major record companies try to find a way around these issues, was a particular low spot for me, as we had to pull out of recording Robin's concerto, 'Eternal Dances' with the fabulous London Symphony Orchestra due to funding problems related to the recession.
However, yesterday I was delighted to receive an email from a gentleman in Ireland, who had heard one movement played on RTE, and was so taken by it that he managed to contact me to express his enthusiasm.
I know that this piece will be an exceptional addition to the classical guitar concerto repertoire and will therefore pursue the project with renewed energy in 2010.
Looking back through some of the blog posts in 2009 there were a few that stood out.
Back in February we joined Reverbnation.
This post, 'The Stories Behind the Music - Robin Hill on Reverbnation' does exactly as it says. A little insight into each of the pieces available on the player.
Then in March there was a performance of Rodrigo's, 'Concierto de Aranjuez' and the corresponding post, 'The Concierto de Aranjuez, an ancient vinyl and advice on nail care.'
In June we were delighted to discover that one of Robin's pieces, 'Dolor de Muelas' had been nominated for an award, 'JPF Music Awards 2009 - Nominee...Robin Hill!!'
Whilst the piece didn't go onto win, it was a massive achievement to reach this stage.
Also in June a surprise favourite post that came about from a simple question posed on Twitter, as to whether musicians like to eat before, or after, a concert.
I'm indebted to all those that replied, and would like you to know that this post continues to be read daily around the world! 'To Eat or Not to Eat - Before a Concert'.
Then in July a milestone was reached as we celebrated our 3rd Birthday. Quite an achievement in the blogging world, and one that I am rather proud of. 'Life of a Musician' 3rd Birthday'.
By far the most popular post of the entire blog, never mind the last three years, was written in October.
'Music Practice Tips - Classical Guitar' continues to be read worldwide on a daily basis.
The post itself is an extract from Robin's book, 'The Guitar Gymnasium', so all those who have found it interesting should perhaps order themselves a copy, as the post is only a fraction of information that has been tried and tested over a lengthy performing career.
But for now I would like to thank all my readers for continuing to follow the life of this particular musician and to wish you all a very happy and healthy 2010.
2009 has certainly been busy.
Despite global recession Robin has travelled to over 30 countries (I gave up counting in the end...) and performed to many thousands of people.
It is always a delight when Robin receives comments and feedback after a concert, and when someone goes to the trouble of seeking the artist out to express their enthusiasm, it is even more rewarding.
It hasn't all been good though.
We have been plagued by 'pirates' with well in excess of 10 000 illegal downloads, and those are the ones I know about.
Not unrelated, as major record companies try to find a way around these issues, was a particular low spot for me, as we had to pull out of recording Robin's concerto, 'Eternal Dances' with the fabulous London Symphony Orchestra due to funding problems related to the recession.
However, yesterday I was delighted to receive an email from a gentleman in Ireland, who had heard one movement played on RTE, and was so taken by it that he managed to contact me to express his enthusiasm.
I know that this piece will be an exceptional addition to the classical guitar concerto repertoire and will therefore pursue the project with renewed energy in 2010.
Looking back through some of the blog posts in 2009 there were a few that stood out.
Back in February we joined Reverbnation.
This post, 'The Stories Behind the Music - Robin Hill on Reverbnation' does exactly as it says. A little insight into each of the pieces available on the player.
Then in March there was a performance of Rodrigo's, 'Concierto de Aranjuez' and the corresponding post, 'The Concierto de Aranjuez, an ancient vinyl and advice on nail care.'
In June we were delighted to discover that one of Robin's pieces, 'Dolor de Muelas' had been nominated for an award, 'JPF Music Awards 2009 - Nominee...Robin Hill!!'
Whilst the piece didn't go onto win, it was a massive achievement to reach this stage.
Also in June a surprise favourite post that came about from a simple question posed on Twitter, as to whether musicians like to eat before, or after, a concert.
I'm indebted to all those that replied, and would like you to know that this post continues to be read daily around the world! 'To Eat or Not to Eat - Before a Concert'.
Then in July a milestone was reached as we celebrated our 3rd Birthday. Quite an achievement in the blogging world, and one that I am rather proud of. 'Life of a Musician' 3rd Birthday'.
By far the most popular post of the entire blog, never mind the last three years, was written in October.
'Music Practice Tips - Classical Guitar' continues to be read worldwide on a daily basis.
The post itself is an extract from Robin's book, 'The Guitar Gymnasium', so all those who have found it interesting should perhaps order themselves a copy, as the post is only a fraction of information that has been tried and tested over a lengthy performing career.
But for now I would like to thank all my readers for continuing to follow the life of this particular musician and to wish you all a very happy and healthy 2010.
Wednesday, December 30, 2009
Back to the Amazon
As you know, prior to Christmas, Robin was in South America.
It's actually the second time this year that he has ventured up the Amazon, here's the post I wrote last time:
'Arrival in the Amazon, Caruso and Fitzcarraldo'
Before Crystal Symphony set sail there was a couple of days to enjoy Manaus, Brazil, especially as Robin had 9 days before his first concert...
Here you can see the famous Opera House and beautifully decorated tree:
A trip to the fish market highlighted the many different fish available when shopping in the Amazon, Robin was however quite pleased to be recovering from a cold and therefore had a reduced sense of smell...
It was in the tiny village of Boca de Valeria that one really sensed they had arrived in the Amazon:
This is a typical village house:
A local tradition for recycling involves old Kayaks. Put to good use growing flowers and herbs:
It was a particularly long trip, especially for 2 concerts, but both were received enthusiastically with standing ovations.
Appropriately Robin played lots of South American music, featuring composers such as Federico Bustamente, Dilermando Reis, Pernambuco and Heitor Villa-Lobos.
Robin kept busy though with lots of practice and plenty of table tennis although he declined to try piranha fishing.
Not being a fisherman, I think it was a wise choice, his fingers are rather important to him....
There were plenty of concerns about getting home for Christmas.
First British Airways threatening to strike. And as soon as this situation resolved, the weather changed.
Severe snow hit the UK.
Robin left Buenos Aires, Argentina, for Heathrow without any problems, and 15 hours later arrived to find his connecting flight cancelled.
Eventually a coach was supplied and a travel weary musician slowly made his way home.
At least it gave the rest of us time to make this little fellow for him:
It's actually the second time this year that he has ventured up the Amazon, here's the post I wrote last time:
'Arrival in the Amazon, Caruso and Fitzcarraldo'
Before Crystal Symphony set sail there was a couple of days to enjoy Manaus, Brazil, especially as Robin had 9 days before his first concert...
Here you can see the famous Opera House and beautifully decorated tree:
A trip to the fish market highlighted the many different fish available when shopping in the Amazon, Robin was however quite pleased to be recovering from a cold and therefore had a reduced sense of smell...
It was in the tiny village of Boca de Valeria that one really sensed they had arrived in the Amazon:
This is a typical village house:
A local tradition for recycling involves old Kayaks. Put to good use growing flowers and herbs:
It was a particularly long trip, especially for 2 concerts, but both were received enthusiastically with standing ovations.
Appropriately Robin played lots of South American music, featuring composers such as Federico Bustamente, Dilermando Reis, Pernambuco and Heitor Villa-Lobos.
Robin kept busy though with lots of practice and plenty of table tennis although he declined to try piranha fishing.
Not being a fisherman, I think it was a wise choice, his fingers are rather important to him....
There were plenty of concerns about getting home for Christmas.
First British Airways threatening to strike. And as soon as this situation resolved, the weather changed.
Severe snow hit the UK.
Robin left Buenos Aires, Argentina, for Heathrow without any problems, and 15 hours later arrived to find his connecting flight cancelled.
Eventually a coach was supplied and a travel weary musician slowly made his way home.
At least it gave the rest of us time to make this little fellow for him:
Wednesday, December 09, 2009
'Musical Bar'
As Robin makes his way up the Amazon on Crystal Symphony, it became obvious that Christmas preparations were underway in Manaus, Brazil:
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He has already visited some incredible places and I'm hoping for photographs soon.
However sending them is proving a problem just at the moment.
But regardless of the fantastic sights he is seeing Robin has two concerts to prepare for, so he is keeping busy.
Meanwhile I thought I would share this joke with you.
It was sent to me by our wonderful friend Paul Griffin.
So at this busy time of year, take a few minutes to sit back, relax and release the inner musician...
Musical Bar
C, E-flat and G go into a bar. The bartender says, "sorry,
but we don't serve minors." So E-flat leaves, and C and G
have an open fifth between them. After a few drinks, the
fifth is diminished and G is out flat. F comes in and tries
to augment the situation, but is not sharp enough.
D comes in and heads for the bathroom saying, "Excuse me.
I'll just be a second." Then A comes in, but the bartender
is not convinced that this relative of C is not a minor.
Then the bartender notices B-flat hiding at the end of the
bar and says, "Get out! You're the seventh minor I've found
in this bar tonight."
E-Flat comes back the next night in a three-piece suit with
nicely shined shoes. The bartender says, "you're looking
sharp tonight. Come on in, this could be a major
development." Sure enough, E-flat soon takes off his suit
and everything else, and is au natural.
Eventually C sobers up and realizes in horror that he's
under a rest. C is brought to trial, found guilty of
contributing to the diminution of a minor, and is sentenced
to 10 years of D.S. without Coda at an upscale correctional
facility.
AXJ66SAEE4BT
.jpg)
He has already visited some incredible places and I'm hoping for photographs soon.
However sending them is proving a problem just at the moment.
But regardless of the fantastic sights he is seeing Robin has two concerts to prepare for, so he is keeping busy.
Meanwhile I thought I would share this joke with you.
It was sent to me by our wonderful friend Paul Griffin.
So at this busy time of year, take a few minutes to sit back, relax and release the inner musician...
Musical Bar
C, E-flat and G go into a bar. The bartender says, "sorry,
but we don't serve minors." So E-flat leaves, and C and G
have an open fifth between them. After a few drinks, the
fifth is diminished and G is out flat. F comes in and tries
to augment the situation, but is not sharp enough.
D comes in and heads for the bathroom saying, "Excuse me.
I'll just be a second." Then A comes in, but the bartender
is not convinced that this relative of C is not a minor.
Then the bartender notices B-flat hiding at the end of the
bar and says, "Get out! You're the seventh minor I've found
in this bar tonight."
E-Flat comes back the next night in a three-piece suit with
nicely shined shoes. The bartender says, "you're looking
sharp tonight. Come on in, this could be a major
development." Sure enough, E-flat soon takes off his suit
and everything else, and is au natural.
Eventually C sobers up and realizes in horror that he's
under a rest. C is brought to trial, found guilty of
contributing to the diminution of a minor, and is sentenced
to 10 years of D.S. without Coda at an upscale correctional
facility.
AXJ66SAEE4BT
Sunday, November 15, 2009
Monte Carlo or Bust of Napoleon?
Travelling around the Mediterranean on board the luxurious Queen Victoria isn't a bad way to spend two weeks of your life.
However, for Robin, it was no holiday.
Four concerts, all entirely different programmes, require an awful lot of preparation.
The concerts were split. Two within the first few days, and the final two towards the end of the trip.
Consequently, Robin had time to visit some incredible places, in between practicing and rehearsals.
Firstly, here is a more unusual image of the Queen Victoria, and a picture Robin is rather proud of:
Then, a more conventional view of the QV, nestled in the background whilst docked in Ajaccio, Corsica:
Throughout Ajaccio you can find many statues of Napoleon Bonaparte as he was born here in 1769:
One can't help imagining that Napoleon would have walked down this very street at some point:
After a day in Civitavecchia, which consisted mainly of rehearsals, they arrived in Monte Carlo, Monaco. Robin has visited Monte Carlo many times and has very fond memories of this particular trip, 'Monte Carlo and Madeline Bell'.
Only in Monte Carlo would the corner shop sell Ferrari's...and why has the motorbike in the foreground got 2 front wheels?
I must say I rather like the posters for the Monte Carlo Orchestre Philharmonique:
And this beautiful stairway, which is apparently much larger than it appears in this photograph:
Plus a typical church below the famous mountains of Monte Carlo:
After all this French speaking it seemed appropriate that Robin was reading this book:
But now Robin is home.
The concerts all went very well and the director is keen for him to return.
He may have to wait a while.
Next stop, well, you'll have to wait and see...
However, for Robin, it was no holiday.
Four concerts, all entirely different programmes, require an awful lot of preparation.
The concerts were split. Two within the first few days, and the final two towards the end of the trip.
Consequently, Robin had time to visit some incredible places, in between practicing and rehearsals.
Firstly, here is a more unusual image of the Queen Victoria, and a picture Robin is rather proud of:
Then, a more conventional view of the QV, nestled in the background whilst docked in Ajaccio, Corsica:
Throughout Ajaccio you can find many statues of Napoleon Bonaparte as he was born here in 1769:
One can't help imagining that Napoleon would have walked down this very street at some point:
After a day in Civitavecchia, which consisted mainly of rehearsals, they arrived in Monte Carlo, Monaco. Robin has visited Monte Carlo many times and has very fond memories of this particular trip, 'Monte Carlo and Madeline Bell'.
Only in Monte Carlo would the corner shop sell Ferrari's...and why has the motorbike in the foreground got 2 front wheels?
I must say I rather like the posters for the Monte Carlo Orchestre Philharmonique:
And this beautiful stairway, which is apparently much larger than it appears in this photograph:
Plus a typical church below the famous mountains of Monte Carlo:
After all this French speaking it seemed appropriate that Robin was reading this book:
But now Robin is home.
The concerts all went very well and the director is keen for him to return.
He may have to wait a while.
Next stop, well, you'll have to wait and see...
Monday, October 19, 2009
Music Practice Tips - Classical Guitar
Today is a very special post by the man himself - Robin Hill!
It was originally written as a guest blog for the Australian violinist Ben Clapton, back in 2007.
Enjoy!
Music Practice Tips – Classical Guitar
By Robin Hill
When approached by Ben, to write a guest blog spot on ‘practice tips’ for the classical guitar, I wondered where to start.
Having written an entire book, ‘The Guitar Gymnasium, A Mental and Physical Workout, Designed to Develop Flawless Technique,’ published by Mel Bay, it seemed a difficult task to summarise into an article.
Most of my thinking on these matters has been precipitated by the ‘front line’ experiences of concertising, recording, broadcasting and teaching, and a life long passion for the classical guitar, and music in general.
Outstanding performance on any musical instrument can only be achieved through hard and painstaking work. The musician who excels above his colleagues is, generally, the one who has taken more pains.
Regular practice is essential, with technical work of high priority, and whilst students may not want to hear this, there is no escape from scales and arpeggios!
One of the most basic and important principles in guitar technique is economy of movement, not only of both hands, but, of any part of the body involved in the production of the note.
It’s worth investing in a full length, movable, mirror, as I watch myself playing frequently, not out of vanity, but to constantly check positioning and posture.
For practice, I’ll break it down into sections, and start with the arpeggio.
The Arpeggio.
The right hand should remain completely stable with the knuckles immobile and parallel to the strings. The fingers themselves move in a minimal way, pressing, rather than hitting the string.
Initially you can practice this silently by touching the string but without producing any sound.
This helps to establish playing ‘from the string’ and using the minimum amount of movement.
Silent practice should be accompanied by ‘hearing’ the notes mentally, and thus, reinforcing the inner ear.
In fact it is always good practice to ‘hear’ notes in one’s mind a split second before playing them.
Initially the arpeggio should be practiced slowly, gradually increasing the tempo, and the use of a metronome is recommended, but not all the time.
Fluency, technical command and accuracy are paramount.
Variety in practice is important, try to surprise your fingers with new challenges and studies, but always practice attentively. Be aware of the deadly routine of wading, without concentration, through studies and exercises.
The Scale.
There are many different methods of playing scales on the guitar. As a general rule, if alternating between i and m, it is undesirable to cross strings using mi when ascending and im when descending. Whilst not always possible to avoid, it should be seriously considered. So, the guitarist must learn a flexible approach to scale playing, using inventive fingering to avoid undesirable crossings.
It should be remembered, that printed fingering is never sacred, there are usually viable alternatives.
During scale playing the same principles of economy of movement and right and left hand stability apply.
I have also found that practice with the backs of the nails i.e. movement in the opposite direction to the normal stroke, is extremely beneficial. It’s a similar effect to practising rasgueados and leads to improving the right hand’s ‘feel good’ factor.
When practising major and minor scales try playing along with the metronome (on the offbeat) and also using various rhythms.
So regular technical exercises are essential. But one doesn’t need to have an instrument in one’s hands to practise, particularly in the field of memorization.
I personally derive a great deal of benefit from not only ‘playing’ a piece mentally, and hearing the sound and timbre of the notes, but also in imagining a successful concert scenario.
Even when practising with the instrument I feel it is an intellectual rather than a physical exercise.
The temptation to play a piece up to tempo should be resisted, as unless the technical and musical foundations have been laid we will not gain mastery over the music.
The repetition of, ‘hit and miss’ renditions, only serves to ingrain bad habits further.
Difficult passages must be played slowly, with phrasing and musical expression, to prevent the bad habits developing.
One never arrives at the point when one can say, ‘I can now play,’ it’s a lifetimes work for anyone, whoever they are, and one’s ideals are often subtly changing.
I am frequently asked how much practice should be done each day, but it is, of course, quality and not quantity that is paramount.
Generally I practice no more than one hour at a time, but it is a pointless exercise, unless concentration and attention are maintained.
Over an average day I would practise at least five hours, about half the time on technical work, and the other half on musical aspects (learning new repertoire, maintaining established repertoire etc.)
I strongly recommend reading and re-reading every possible tutor and manual on playing and technique. Not just for the guitar, but different instruments, particularly the violin and piano, as there are very often common principles to playing any instrument.
It is impossible to overestimate the importance of going to hear and see as many first class players as possible, of any instrument, as this is one of the most exciting and inspirational ways to learn.
But it is also important not to forget one’s original inspirations and to refer back to them often. They are, after all, the reason you play, and generally, you will still find them inspiring.
Listen and luxuriate in your favourite recordings and let them fuel your enthusiasm. Although there are now many fine players of the guitar worldwide, it is still, unfortunately, rare to get the chance to see and hear them. If you do get the chance, make sure you take it and hear them live, it’s worth a million CDs.
Also play with other musicians. The guitar combines particularly well with the violin, the voice, the flute, the mandolin, the recorder, the oboe and with all manner of small chamber ensembles. This will open you up to the full musical picture and not just ‘your’ part, increasing your appreciation and pleasure on the way.
Much of the information I have discussed today, has come from my book, which also has all the technical exercises, I work through each day.
I will also be going into more detail about practice and performance over on my blog in the next few weeks and months.
But for now, many thanks to Ben for the invitation, and, happy practising!
It was originally written as a guest blog for the Australian violinist Ben Clapton, back in 2007.
Enjoy!
Music Practice Tips – Classical Guitar
By Robin Hill
When approached by Ben, to write a guest blog spot on ‘practice tips’ for the classical guitar, I wondered where to start.
Having written an entire book, ‘The Guitar Gymnasium, A Mental and Physical Workout, Designed to Develop Flawless Technique,’ published by Mel Bay, it seemed a difficult task to summarise into an article.
Most of my thinking on these matters has been precipitated by the ‘front line’ experiences of concertising, recording, broadcasting and teaching, and a life long passion for the classical guitar, and music in general.
Outstanding performance on any musical instrument can only be achieved through hard and painstaking work. The musician who excels above his colleagues is, generally, the one who has taken more pains.
Regular practice is essential, with technical work of high priority, and whilst students may not want to hear this, there is no escape from scales and arpeggios!
One of the most basic and important principles in guitar technique is economy of movement, not only of both hands, but, of any part of the body involved in the production of the note.
It’s worth investing in a full length, movable, mirror, as I watch myself playing frequently, not out of vanity, but to constantly check positioning and posture.
For practice, I’ll break it down into sections, and start with the arpeggio.
The Arpeggio.
The right hand should remain completely stable with the knuckles immobile and parallel to the strings. The fingers themselves move in a minimal way, pressing, rather than hitting the string.
Initially you can practice this silently by touching the string but without producing any sound.
This helps to establish playing ‘from the string’ and using the minimum amount of movement.
Silent practice should be accompanied by ‘hearing’ the notes mentally, and thus, reinforcing the inner ear.
In fact it is always good practice to ‘hear’ notes in one’s mind a split second before playing them.
Initially the arpeggio should be practiced slowly, gradually increasing the tempo, and the use of a metronome is recommended, but not all the time.
Fluency, technical command and accuracy are paramount.
Variety in practice is important, try to surprise your fingers with new challenges and studies, but always practice attentively. Be aware of the deadly routine of wading, without concentration, through studies and exercises.
The Scale.
There are many different methods of playing scales on the guitar. As a general rule, if alternating between i and m, it is undesirable to cross strings using mi when ascending and im when descending. Whilst not always possible to avoid, it should be seriously considered. So, the guitarist must learn a flexible approach to scale playing, using inventive fingering to avoid undesirable crossings.
It should be remembered, that printed fingering is never sacred, there are usually viable alternatives.
During scale playing the same principles of economy of movement and right and left hand stability apply.
I have also found that practice with the backs of the nails i.e. movement in the opposite direction to the normal stroke, is extremely beneficial. It’s a similar effect to practising rasgueados and leads to improving the right hand’s ‘feel good’ factor.
When practising major and minor scales try playing along with the metronome (on the offbeat) and also using various rhythms.
So regular technical exercises are essential. But one doesn’t need to have an instrument in one’s hands to practise, particularly in the field of memorization.
I personally derive a great deal of benefit from not only ‘playing’ a piece mentally, and hearing the sound and timbre of the notes, but also in imagining a successful concert scenario.
Even when practising with the instrument I feel it is an intellectual rather than a physical exercise.
The temptation to play a piece up to tempo should be resisted, as unless the technical and musical foundations have been laid we will not gain mastery over the music.
The repetition of, ‘hit and miss’ renditions, only serves to ingrain bad habits further.
Difficult passages must be played slowly, with phrasing and musical expression, to prevent the bad habits developing.
One never arrives at the point when one can say, ‘I can now play,’ it’s a lifetimes work for anyone, whoever they are, and one’s ideals are often subtly changing.
I am frequently asked how much practice should be done each day, but it is, of course, quality and not quantity that is paramount.
Generally I practice no more than one hour at a time, but it is a pointless exercise, unless concentration and attention are maintained.
Over an average day I would practise at least five hours, about half the time on technical work, and the other half on musical aspects (learning new repertoire, maintaining established repertoire etc.)
I strongly recommend reading and re-reading every possible tutor and manual on playing and technique. Not just for the guitar, but different instruments, particularly the violin and piano, as there are very often common principles to playing any instrument.
It is impossible to overestimate the importance of going to hear and see as many first class players as possible, of any instrument, as this is one of the most exciting and inspirational ways to learn.
But it is also important not to forget one’s original inspirations and to refer back to them often. They are, after all, the reason you play, and generally, you will still find them inspiring.
Listen and luxuriate in your favourite recordings and let them fuel your enthusiasm. Although there are now many fine players of the guitar worldwide, it is still, unfortunately, rare to get the chance to see and hear them. If you do get the chance, make sure you take it and hear them live, it’s worth a million CDs.
Also play with other musicians. The guitar combines particularly well with the violin, the voice, the flute, the mandolin, the recorder, the oboe and with all manner of small chamber ensembles. This will open you up to the full musical picture and not just ‘your’ part, increasing your appreciation and pleasure on the way.
Much of the information I have discussed today, has come from my book, which also has all the technical exercises, I work through each day.
I will also be going into more detail about practice and performance over on my blog in the next few weeks and months.
But for now, many thanks to Ben for the invitation, and, happy practising!
Wednesday, October 14, 2009
Lunchtime Recital
If you are in the North West of the UK and want to liven up your lunchtime this Thursday, 15th October, then why not go to a concert.
It is the last chance to see Robin perform in the UK this year, so if you can make it, the place to be is St. Andrews & St. George's Church.
Lunch will be served from midday and the concert starts promptly at 12.45, finishing at 1.30.
The programme will include Renaissance Lute Pieces, Tarrega, Dilermando Reis, Iradier, Sabicas and some traditional flamenco, so is an ideal way to brighten up your Thursday.
It is the last chance to see Robin perform in the UK this year, so if you can make it, the place to be is St. Andrews & St. George's Church.
Lunch will be served from midday and the concert starts promptly at 12.45, finishing at 1.30.
The programme will include Renaissance Lute Pieces, Tarrega, Dilermando Reis, Iradier, Sabicas and some traditional flamenco, so is an ideal way to brighten up your Thursday.
Wednesday, October 07, 2009
In Ibiza with Robin Hill & Izzy Cooper
Anyone considering a career in music might be swayed by this post.
The years and years of dedication to your instrument can result in some very special events.
To be booked to play at a private party on a private beach was one such occasion.
Robin was flown from the UK, whilst Izzy Cooper arrived from Spain, and with only two days rehearsal it was a pretty tight schedule.
However, they have performed together before and had been working on their parts separately for some time.
By all accounts it was a fabulous evening. But then with such a beautiful backdrop everyone was bound to be moved:
As Robin and Izzy performed the sea rolled gently in behind them and after the interval Robin couldn't resist informing Izzy that the waves were now only a matter of feet from them....
Ever the professional, and also used to Robin's sense of humour, she managed to remain calm and they finished the programme without getting their feet wet.
Whilst not rehearsing Robin could sit back and enjoy the view from his hotel:
And in fact spoke to me a number of times from his balcony:
But this was always going to be a busy weekend.
The next morning Robin had an early flight to Stansted as he was performing a concert that night at the Rhodes Art Complex, Bishop's Stortford.
They had thoughtfully put a poster in the window so that the travel and work weary musician knew he had arrived at the correct destination:
As I write Robin is off on his travels once again and can currently be found somewhere in Canada.
But more of that trip on another occasion.
The years and years of dedication to your instrument can result in some very special events.
To be booked to play at a private party on a private beach was one such occasion.
Robin was flown from the UK, whilst Izzy Cooper arrived from Spain, and with only two days rehearsal it was a pretty tight schedule.
However, they have performed together before and had been working on their parts separately for some time.
By all accounts it was a fabulous evening. But then with such a beautiful backdrop everyone was bound to be moved:
As Robin and Izzy performed the sea rolled gently in behind them and after the interval Robin couldn't resist informing Izzy that the waves were now only a matter of feet from them....
Ever the professional, and also used to Robin's sense of humour, she managed to remain calm and they finished the programme without getting their feet wet.
Whilst not rehearsing Robin could sit back and enjoy the view from his hotel:
And in fact spoke to me a number of times from his balcony:
But this was always going to be a busy weekend.
The next morning Robin had an early flight to Stansted as he was performing a concert that night at the Rhodes Art Complex, Bishop's Stortford.
They had thoughtfully put a poster in the window so that the travel and work weary musician knew he had arrived at the correct destination:
As I write Robin is off on his travels once again and can currently be found somewhere in Canada.
But more of that trip on another occasion.
Thursday, September 10, 2009
Robin Hill - UK Concert - Don't Miss it!
With only a couple of weeks to go it is time for a reminder.
Robin will be performing at Rhodes Arts Complex , Bishop's Stortford, on Saturday 26th September. More information and ticket details can be found here.
It is one of only two concerts in the UK for the remainder of this year, as the rest of Robin's work will be performed abroad.
So, if you have an interest in the guitar, and music in general, then Rhodes Arts Complex is the place to be.
As James Burton of the Herts and Essex Observer recently said, "...Next up is a trio of concerts by some top musicians...Rounding off the hat-trick is classical guitar virtuoso Robin Hill.... his recital will be a tour through the ages, including tunes from Renaissance composers through to the present."
You can read the full report here, 'Autumn delights at Rhodes'.
Sadly I won't be able to attend.
Robin is flying straight there from a private function in Ibiza with soprano Izzy Cooper.
But we are all in for a busy weekend.
Robin will be setting off home bright and early the next day as an eager youngest son will be awaiting his return.
It will be his 7th birthday!
Robin will be performing at Rhodes Arts Complex , Bishop's Stortford, on Saturday 26th September. More information and ticket details can be found here.
It is one of only two concerts in the UK for the remainder of this year, as the rest of Robin's work will be performed abroad.
So, if you have an interest in the guitar, and music in general, then Rhodes Arts Complex is the place to be.
As James Burton of the Herts and Essex Observer recently said, "...Next up is a trio of concerts by some top musicians...Rounding off the hat-trick is classical guitar virtuoso Robin Hill.... his recital will be a tour through the ages, including tunes from Renaissance composers through to the present."
You can read the full report here, 'Autumn delights at Rhodes'.
Sadly I won't be able to attend.
Robin is flying straight there from a private function in Ibiza with soprano Izzy Cooper.
But we are all in for a busy weekend.
Robin will be setting off home bright and early the next day as an eager youngest son will be awaiting his return.
It will be his 7th birthday!
Friday, September 04, 2009
Samba, Bossa Nova and the Joy of Latin Homework
It has been very nice to have Robin home for a few weeks but he has not been idle.
He has been working hard on an alternative show which he has been asked to organise, featuring himself, plus an extensive band.
The pieces are varied, ranging from original compositions to arrangements of standards, which have all been given the 'Hill' treatment. There's everything from latin/jazz to swing and even some rock.
One piece, an original composition, is called Brasilia.
This is in a bossa nova style featuring guitar, bass, flute, clarinet, alto & tenor sax, trumpet, trombone, Latin American percussion and even a cuica. All resulting in a rather fabulous latin/jazz feel.
'Dolor de Muelas', which has recently been nominated for an award, is a piece in a samba style which has also been given the 'Big Band' treatment.
Arrangements have also been done for a number of well known pieces such as 'Can't Buy Me Love', 'Bach Prelude', 'Fragile', 'Here Comes the Sun', 'This Masquerade' 'Classical Gas' and many more, all naturally heavily featuring the guitar.
Amongst this musical extravaganza will also be a few pieces from Robin's solo guitar repertoire.
The whole show will be taken for a test drive before too long, and we will be searching for various musicians at some point.
But be warned, Robin is known for writing rather tricky trumpet parts, you only have to listen to 'Celebration' in the sidebar to see what I mean...
You can read more about Force Ten here.
Paul Griffin is responsible for hitting the very high notes on the trumpet. Based in New York, Paul was the product of a very musical background. His father Chris was one third of Benny Goodman's 'Biting Brass' trumpet section, and Paul himself played at John F. Kennedy's funeral.
I wonder if we can coax Paul back out on the road. That would be some show....
He has been working hard on an alternative show which he has been asked to organise, featuring himself, plus an extensive band.
The pieces are varied, ranging from original compositions to arrangements of standards, which have all been given the 'Hill' treatment. There's everything from latin/jazz to swing and even some rock.
One piece, an original composition, is called Brasilia.
This is in a bossa nova style featuring guitar, bass, flute, clarinet, alto & tenor sax, trumpet, trombone, Latin American percussion and even a cuica. All resulting in a rather fabulous latin/jazz feel.
'Dolor de Muelas', which has recently been nominated for an award, is a piece in a samba style which has also been given the 'Big Band' treatment.
Arrangements have also been done for a number of well known pieces such as 'Can't Buy Me Love', 'Bach Prelude', 'Fragile', 'Here Comes the Sun', 'This Masquerade' 'Classical Gas' and many more, all naturally heavily featuring the guitar.
Amongst this musical extravaganza will also be a few pieces from Robin's solo guitar repertoire.
The whole show will be taken for a test drive before too long, and we will be searching for various musicians at some point.
But be warned, Robin is known for writing rather tricky trumpet parts, you only have to listen to 'Celebration' in the sidebar to see what I mean...
You can read more about Force Ten here.
Paul Griffin is responsible for hitting the very high notes on the trumpet. Based in New York, Paul was the product of a very musical background. His father Chris was one third of Benny Goodman's 'Biting Brass' trumpet section, and Paul himself played at John F. Kennedy's funeral.
I wonder if we can coax Paul back out on the road. That would be some show....
Monday, August 10, 2009
Interested in a Course on Music & Creative Industries Management?
An exciting and innovative new course has come to my attention which may be of interest to some of you.
The 'Music and Creative Industries Management - MSc' aims to 'support careers in media, creative and digital industries, with particular relevance to music.'
The course is a part of the 'Business Logistics Innovation & Systems Research Centre', or the more manageable, BLIS Research Centre, at the University of Bolton.
There really will be many aspects of a career in music covered, both theoretical and applied.
From sound engineering, graphic design, the games industry, performance skills, management and development, e-marketing tools, legal aspects, copyright and many more.
If you are lucky, you may even see me there holding a few workshops on the murky role of the manager/agent and applied promotional strategies
If you are even luckier, then Robin will also be available to discuss more about the creative process, performing and recording.
There really is no substitute, for anyone contemplating a professional career in music, for the opportunity to talk to someone already out there in the field.
There may also even be the opportunity to be involved in organising and implementing a large outdoor event, which would provide very valuable 'hands on' experience.
So go and take a look at the course but remember there are limited places so don't wait too long.
Hopefully we'll see some of you there.
The 'Music and Creative Industries Management - MSc' aims to 'support careers in media, creative and digital industries, with particular relevance to music.'
The course is a part of the 'Business Logistics Innovation & Systems Research Centre', or the more manageable, BLIS Research Centre, at the University of Bolton.
There really will be many aspects of a career in music covered, both theoretical and applied.
From sound engineering, graphic design, the games industry, performance skills, management and development, e-marketing tools, legal aspects, copyright and many more.
If you are lucky, you may even see me there holding a few workshops on the murky role of the manager/agent and applied promotional strategies
If you are even luckier, then Robin will also be available to discuss more about the creative process, performing and recording.
There really is no substitute, for anyone contemplating a professional career in music, for the opportunity to talk to someone already out there in the field.
There may also even be the opportunity to be involved in organising and implementing a large outdoor event, which would provide very valuable 'hands on' experience.
So go and take a look at the course but remember there are limited places so don't wait too long.
Hopefully we'll see some of you there.
Saturday, July 25, 2009
'Life of a Musician' 3rd Birthday!
Today is the third birthday of 'Life of a Musician'.
I'm amazed how quickly the time has passed and how much as been going on.
Regular readers will know that I haven't posted as much recently, but there is a reason.
Unfortunately I can't yet share it with you!
Suffice to say that a project later this year has been taking up a lot of my time and hence the lack of posts.
But many thanks to you all for being patient, and returning regularly to keep updated.
Here's a reminder of our 1st birthday, 'Happy Birthday to Robin Hill's Classical Guitar Blog', and 2nd birthday, '2 Years of Blogging'.
In the past year a lot has happened and you can scroll down through the archives to catch up with events.
MySpace continues to flourish, Twitter has leaped from 93 followers and 838 updates a year ago, to 421 followers and 3795 updates!
Last year we were at 597 post, and now this will be the 687th post!
We have joined Reverbnation, to reach out to even more people, and new Cd's will be available before too long.
But for now, thank you to all those around the world who regularly drop by, and also to any casual visitors.
I hope to see you all over the next year, as we continue the journey.
Feel free to comment or send me a message if there are any areas you would like me to discuss.
For now though, time to eat cake.
I'm amazed how quickly the time has passed and how much as been going on.
Regular readers will know that I haven't posted as much recently, but there is a reason.
Unfortunately I can't yet share it with you!
Suffice to say that a project later this year has been taking up a lot of my time and hence the lack of posts.
But many thanks to you all for being patient, and returning regularly to keep updated.
Here's a reminder of our 1st birthday, 'Happy Birthday to Robin Hill's Classical Guitar Blog', and 2nd birthday, '2 Years of Blogging'.
In the past year a lot has happened and you can scroll down through the archives to catch up with events.
MySpace continues to flourish, Twitter has leaped from 93 followers and 838 updates a year ago, to 421 followers and 3795 updates!
Last year we were at 597 post, and now this will be the 687th post!
We have joined Reverbnation, to reach out to even more people, and new Cd's will be available before too long.
But for now, thank you to all those around the world who regularly drop by, and also to any casual visitors.
I hope to see you all over the next year, as we continue the journey.
Feel free to comment or send me a message if there are any areas you would like me to discuss.
For now though, time to eat cake.
Friday, July 17, 2009
BBC Proms 2009
It's that time of year again!
Tonight is the opening night of the world's greatest classical music festival, The Proms 2009.
From 17 July - 12 September an amazing 100 concerts will take place.
The marathon begins today and you can view tonight's programme here.
Coverage of the first night of the 115th season can also be seen on BBC2 starting at 8pm.
To make sure you don't miss anything, BBC Radio 3 have designed a lovely widget which I have displayed below.
This will be regularly updated with videos and links, so feel free to call back over the next 2 months to keep an eye on events.
Enjoy!
Tonight is the opening night of the world's greatest classical music festival, The Proms 2009.
From 17 July - 12 September an amazing 100 concerts will take place.
The marathon begins today and you can view tonight's programme here.
Coverage of the first night of the 115th season can also be seen on BBC2 starting at 8pm.
To make sure you don't miss anything, BBC Radio 3 have designed a lovely widget which I have displayed below.
This will be regularly updated with videos and links, so feel free to call back over the next 2 months to keep an eye on events.
Enjoy!
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