Karin Schaupp and Pavel Steidl

Karin
Schaupp
Pavel
& Steidl
MUSICA VIVA INTERNATIONAL CONCERT SEASON 2013
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Photography & light painting by Lightmark. Commissioned for Wesfarmers Arts 2010. No.86 | London Bridge, Western Australia.
© Keith Saunders
AUSTRALIA | CZECH REPUBLIC
Karin Schaupp &
Pavel Steidl
Karin Schaupp guitar
Pavel Steidl
guitar
PROGRAM
MERTZ
ALBÉNIZ
Am Grabe der Geliebten (At the beloved’s grave)
Unruhe (Uneasiness)
Mazurka
Torre Bermeja (The Red Tower) from
12 Piezas características, op 92
SOR
L’Encouragement, op 34
EDWARDS
Djanaba
PAGANINI
JANÁČEK
Minuetto che va chiamando Dida
(Minuet known as Dida), MS104
Valtz (Waltz), MS84
HOUGHTON
SCHUBERT
Brolga
Selections from String Quartet no 9 in G minor,
D173
GNATTALI
INTERVAL
The Barn Owl Has Not Flown Away from
On an Overgrown Path
Chiquinha Gonzaga (Corta Jaca) from
Suite Retratos (Portraits Suite)
GRANADOS
Spanish Dances, op 37
(See page 7 for Program details)
Musica Viva is assisted by the Commonwealth Government
through the Australia Council, its arts funding and advisory body.
Musica Viva is assisted by the NSW Government through Arts NSW.
TOUR DATES
ADELAIDE
NEWCASTLE
Tuesday 12 March, 7.30pm
Adelaide Town Hall
Meet the Artists after concert
Presented in association with
Adelaide Festival
Saturday 23 February, 7.30pm
Harold Lobb Concert Hall,
Newcastle Conservatorium
Recorded for broadcast on 2NUR FM
PERTH
BRISBANE
Wednesday 6 March, 7pm
Conservatorium Theatre
CD signing after concert
Steven Kinston Tribute Concert
Recorded for broadcast on 4MBS FM
Thursday 21 February, 7.30pm
Perth Concert Hall
Meet the Artists after concert
Presented in association with
Perth International Arts Festival
SYDNEY
CANBERRA
Thursday 28 February, 7pm
Llewellyn Hall, ANU School of Music
ACT Musica Viva history pre-concert talk
at 6.45pm
Meet the Artists after concert
Presented in association with
Centenary of Canberra
Monday 25 February, 7pm
City Recital Hall Angel Place
CD signing after concert
Direct broadcast on ABC Classic FM
Saturday 9 March, 2pm
City Recital Hall Angel Place
Meet the Artists after concert
Recorded for broadcast on Fine Music FM
MELBOURNE
Tuesday 26 February, 7pm
Elisabeth Murdoch Hall,
Melbourne Recital Centre
CD signing after concert
Saturday 2 March, 8pm
Elisabeth Murdoch Hall,
Melbourne Recital Centre
Meet the Artists after concert
ADDITIONAL ACTIVITY
Karin Schaupp and Pavel Steidl will perform at Good Shepherd Lutheran College, Noosa on
Sunday 17 February at 7.30pm, and at Albany Entertainment Centre on Tuesday 19 February
at 8pm.
Karin Schaupp and Pavel Steidl will hold workshops at Albany Entertainment Centre on Tuesday
19 February, 11am–1pm; Perth Concert Hall on Wednesday 20 February, 4–6pm; and Elder
Conservatorium, Adelaide on Tuesday 12 March, 11am–1pm.
Pavel Steidl will present masterclasses at ANU School of Music, Canberra on Wednesday
27 February, 3.30–5pm; The University of Queensland on Monday 4 March, 3–4.30pm; and
Sydney Conservatorium of Music on Friday 8 March, 6.30–8.30pm.
2 Musica Viva Australia
© Keith Saunders
FROM THE ARTISTIC DIRECTOR
We wanted to start the 2013 concert season with
something out of the ordinary, so approached
Australian guitar virtuoso Karin Schaupp with
the idea of touring with a second guitarist, and
a list of famous classical players whom she
might relish working with. She responded half a
beat later with a surprising recommendation –
Czech master Pavel Steidl, who at the time was
unknown to everyone at Musica Viva.
In 2002 Pavel Steidl was a special guest at
the Darwin International Guitar Festival. He
impressed all of the attendees with his finesse
and artistry, including Karin, and emerged literally
as the ‘guitarists’ guitarist’. It transpired later that
Karin had equally impressed Pavel, and so our
perfect guitar duo was born.
The history of music for two guitars is
astonishingly rich, and surprisingly little known,
boasting among its most ardent participants
some of the colossuses of classical music
including Paganini, Berlioz, Rossini, Schubert
and Chopin. Most of us know that the
composers Granados and Albéniz wrote a good
deal of music for guitar, but are unaware that one
of Rossini’s favourite pastimes was playing guitar
duets. You will be amazed to discover the name
of his regular duo partner!
To integrate this fascinating story into a
compelling stage presentation, we called on
Martin Buzacott, prodigiously diverse music
administrator and award-winning novelist, to
flesh out the combined knowledge of Karin and
Pavel with original research and a professional
perspective on the drama of the narrative.
Although primarily a recital, this evening’s
concert is also part history lesson, and part of a
rare glimpse into the private world of two master
guitarists.
CARL VINE
Artistic Director
Musica Viva Australia
Musica Viva Australia 3
FROM THE CHIEF EXECUTIVE OFFICER
Watching the little ones at play over the
summer break, I was frequently struck by their
receptiveness to music, craft, dance and books.
It gave me great hope for the future – and great
fear that, when those children get a little older,
they may not be encouraged to pursue the arts
with an equal enthusiasm in their classroom, if
current trends are any indication.
To combat that trend, Musica Viva is leading the
way in new territory this year, with the release
of our stand-alone interactive resources that
will enable teachers to engage their students
in music at a pace and place that suits them
best. This is a real game-changer for music
education, a result of a three-year development
phase supported by Rio Tinto and the Federal
Department of Education (DEEWR).
I am incredibly excited by the new resources,
and welcome you to explore them with us.
Details will be available on our website regarding
previews in your state: www.musicaviva.com.au.
2013 promises to be a year filled with excitement
at MVA, and tonight’s concert is a great way to
start!
MARY JO CAPPS
Chief Executive Officer
Musica Viva Australia
CONNECT
There is a range of opportunities to enhance your Musica Viva concert experience: live, online and in print.
Our Online Concert Talks, which you can watch at your leisure, offer a deeper dimension to the concert
experience. These will be available online at least two weeks before each concert, as well as afterwards.
You can also download your Concert Guides online and read them in advance of the concert. For
patrons who prefer to pick up a hard copy guide at the concert venue, we would ask that you share
concert guides, one between two.
Please visit musicaviva.com.au/concertinsights for more information.
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4 Musica Viva Australia
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© Keith Saunders
MEET THE MUSICIANS
KARIN SCHAUPP
Karin Schaupp began her guitar training at the age
of five and first performed in public the following
year. While still in her teens she won prizes at
international competitions in Lagonegro, Italy and
in Madrid, Spain, where she was also awarded the
prize for the Best Interpretation of Spanish Music.
Taught almost exclusively by her guitarist mother,
Isolde Schaupp, Karin completed her tertiary music
studies at The University of Queensland with
First Class Honours, a Masters degree and a
University Gold Medal. In 2003 she was awarded
the Music Council of Australia Freedman
Fellowship in recognition of her achievements.
Karin Schaupp has an extensive discography:
Soliloquy, Leyenda and Evocation for Warner
Music International, and for ABC Classics,
Dreams, Lotte’s Gift and Cradle Songs, as
well as three albums with the ARIA Awardwinning ensemble Saffire – The Australian Guitar
Quartet; a duo album, Songs without Words,
with recorder virtuoso Genevieve Lacey; and
Fandango with the Flinders Quartet. Her most
recent release is the double ARIA-nominated
Songs of the Southern Skies with songstress
Katie Noonan (Kin Music).
© Keith Saunders
Her orchestral recordings on ABC Classics
include award-winning world premiere recordings
of Philip Bračanin’s Guitar Concerto, which was
written for her, and Ross Edwards’ Concerto for
Guitar and Strings, as well as Peter Sculthorpe’s
Nourlangie, and the album Spain: Great Guitar
Concertos, featuring works by Rodrigo, Bacarisse
and Castelnuovo-Tedesco – in the words of
Gramophone magazine (UK), ‘an Aranjuez fit to
stand alongside the best of them.’
Following training at NIDA and the Australian
Acting Academy, and private tuition with Martin
Challis, she has extended her performance
activities to the theatrical stage. She starred
in some 150 performances of Lotte’s Gift, a
play written especially for her by Australian
playwright David Williamson; the work enjoyed
its international premiere with a four-week
season at the Edinburgh Festival Fringe in
2009.
Other recent performance highlights include
concertos with the London Philharmonic
Orchestra, the Springfield Symphony Orchestra
(USA), the Queensland and Tasmanian
Symphony Orchestras, and appearances at
the World Expo (Aichi, Japan) and the Hong
Kong Arts Festival.
Karin Schaupp is dressed by Sacha Drake
www.sachadrake.com
This is Karin Schaupp’s first national tour for
Musica Viva. She has previously toured for
Musica Viva’s CountryWide program, and
performed in the Coffee Concert Series and at
the Huntington Estate Music Festival.
Musica Viva Australia 5
© Keith Saunders
MEET THE MUSICIANS
PAVEL STEIDL
Born in the small town of Rakovnik, near Prague,
in the Czech Republic, Pavel Steidl began his
music studies at the Prague Conservatoire,
before becoming a student of the guitarist–
composer, Štěpán Rak. One of the most widely
celebrated classical guitar virtuosos of his
generation, he began his professional career
after winning first prize at the Radio France
International Guitar Competition in 1982.
Since then he has appeared in more than thirty
countries all over the world, including Australia,
Austria, Canada, Costa Rica, Cuba, Guatemala,
Japan, Mexico, Poland, Spain, the UK and the
USA.
In addition to his performance activities,
Pavel Steidl is a highly respected teacher
and a thoughtful composer for the guitar; his
compositions often feature on his concert
programs.
This is Pavel Steidl’s debut tour for Musica
Viva.
© Keith Saunders
A musician of unique artistry and boundless energy,
Pavel Steidl’s highly expressive performances of
rare 19th-century guitar literature on authentic
instruments add a special dimension to his
recitals. He is also well known for his interpretations
of Baroque music, especially the music of the
Czech composer Jan Antonín Losy. His
recordings include Luigi Legnani – 36 Caprices
op 20, Fantasia op 19 and Napoléon Coste –
Guitar Music vol 3, both on Naxos; Paganini –
Sonate & Ghiribizzi for Guitar and J K Mertz –
Barden-Klänge (Frame); and Guitar Music of the
18th and 19th Centuries (Panton).
6 Musica Viva Australia
PROGRAM
Johann Kaspar MERTZ (1806–1856)
Enrique GRANADOS (1867–1916)
Am Grabe der Geliebten
(At the beloved’s grave)
From Spanish Dances, op 37 (1890)
Unruhe (Uneasiness)
Mazurka
10 min
Fernando SOR (1778–1839)
L’Encouragement, op 34 (1828)
Isaac ALBÉNIZ (1860–1909)
12 min
I
II
Cantabile (In a singing style)
Thème (Andantino) et variations
(Theme [Moving along] and variations)
III Valse (Waltz)
Djanaba (1997)
4 min
2 min
5 min
Valtz (Waltz), MS84
Franz SCHUBERT (1797–1828)
From String Quartet no 9 in G minor,
D173 (1815)
10 min
(arranged by Julian Bream for two
guitars, c 1983)
III Menuetto: Allegro vivace
(Minuet: Fast and lively)
IV Allegro (Fast)
Torre Bermeja (The Red Tower)
from 12 Piezas características,
op 92 (c 1888)
(transcribed by Miguel Llobet)
Ross EDWARDS (born 1943)
Niccolò PAGANINI (1782–1840)
Minuetto che va chiamando Dida
(Minuet known as Dida), MS104
11 min
II Orientale: Andante (At a walking pace)
VI Rondalla aragonesa: Allegretto poco
a poco accelerando (Moderately quick,
gradually getting faster)
Leoš JANÁČEK (1854–1928)
The Barn Owl Has Not Flown Away
from On an Overgrown Path (1901)
3 min
Phillip HOUGHTON (born 1954)
Brolga (1994)
8 min
I
Flying In, Landing… ‘My, what a big
beak you have!’ –
II Feathers / Dance –
III Alone… A Bridge of Sighs –
IV Dusk in the Otherworld… Seen through
Eyes of Pearl –
V Black Silhouettes in Burgundy Light
INTERVAL
Radamés GNATTALI (1906–1988)
Chiquinha Gonzaga (Corta Jaca)
from Suite Retratos (Portraits Suite)
(1956, arranged for two guitars 1981)
5 min
Spoken text prepared by Martin Buzacott
Musica Viva Australia 7
ABOUT THE MUSIC
GUITARIST–COMPOSERS OF THE 19TH CENTURY
At the annual Carnival in Rome in 1821, two
revellers dressed as blind beggars paraded
through the streets, playing guitars and
accompanying one another in original songs
composed especially for the occasion. Extroverts
both, they were one of the first guitar duos
who played on the new-fangled six-stringed
instruments, only introduced in Italy in 1799
and not destined to replace the older seven- to
ten-string models as the standard configuration
for another couple of decades. In the true
Carnival tradition, they stopped along their route,
entertaining the passers-by with comic routines,
flirting with the ladies, and dazzling all with their
musical skill. One of these outstanding guitarists
was rather plump, the other painfully thin. The
larger one was named Gioachino Rossini. The
lean one was Niccolò Paganini.
It was by no means the first time that the two
friends had participated in the Carnival as
guitarists. Four years earlier, they had been
joined by their fellow-composer Giacomo
Meyerbeer, who recounts in his Memoirs that
the three of them dressed on that occasion as
women. Their drag show proceeded from house
to house, café to café, Paganini wearing a pencil
skirt to complement his thin figure and singing in
a falsetto voice, Meyerbeer passing around the
hat, and the big-bellied Rossini, composer of
their theme song for the occasion, ‘Carnevale,
Carnevale’, appearing as an expectant mother
who had to rest from the exertion after each
song.
Their Carnival routines may have been comic,
but the great 19th-century composers’ interest
in the instrument was anything but a joke.
Famously, Almaviva uses the guitar to serenade
Rosina in The Barber of Seville, and the Rossini
household itself was dominated by guitars.
Previously thought of as a folk instrument, a
musical curiosity suitable only for dilettantes
and amateurs, the guitar’s increasing popularity
within early 19th-century classical music circles
owed much to the presence in Vienna of the first
great composer–guitarist, Mauro Giuliani (1781–
1829). Italian-born, Giuliani arrived in Europe’s
music capital as a 25-year-old in 1806 and
within two years had made a very public concert
debut – the first guitarist ever to headline a solo
8 Musica Viva Australia
Franz Schubert
concert in Vienna. The who’s-who audience that
night included Beethoven, who famously said the
instrument all by itself sounded like an orchestra!
Giuliani collaborated with many leading Viennese
composers. Hummel became a skilled guitarist;
his Grand Potpourri National, op 79 was cocomposed with Giuliani (his op 93), and he
wrote guitar duets for them to play together.
The composer Ignaz Moscheles also joined
with Giuliani to play guitar duos, as did the
music publisher Anton Diabelli, who became a
leading teacher and composer for guitar (aside
from inspiring Beethoven’s famous set of piano
variations that now bear his name). Carl Maria
von Weber was also a skilled guitarist and
composer of duets for it, used the instrument
extensively in his operas, and composed over
90 songs to be accompanied by it.
Franz Schubert was particularly associated
with the guitar. While still a teenager he added
a cello part to a trio for flute, viola and guitar
by the guitarist Wenzel Matiegka; many of
his own songs were published with guitar
accompaniment, and he used to sing his latest
compositions for his friends using the guitar as
his accompanying instrument.
And it wasn’t just Viennese men who played it. In
Frankfurt it was called ‘the darling instrument of
the ladies’. Another contemporary report noted:
‘It can be found in the home of every even only
moderately modern, attractive, affectionate,
flirtatious, playful, pretty, exuberant, mischievous
or even innocent, demure, respectable woman.’
One of these was Giuliani’s daughter Emilia, who
played duets with her father and is sometimes
credited with having discovered harmonics on
the guitar.
But after 13 years of wowing his Austrian
audiences, composing more than 100 works,
and falling into a financial dispute with Diabelli,
Giuliani fled Vienna in 1819, pursued by police
and his creditors. His place as the greatest
guitarist–composer in the capital of European
music was then taken a generation later by the
Hungarian Johann Kaspar Mertz, who had been
born in Pressburg (now Bratislava) in the very
year in which Giuliani arrived in Vienna. By the
age of 12, Mertz was already supporting his
Mauro Giuliani
family by teaching guitar and flute, and when he
arrived in Vienna as a 34-year-old in 1840, he
was a legend of the instrument.
Mertz’s instruments were made by the great
Viennese luthier Stauffer. There were actually
three instrument makers in the city associated
with that famous name. The father, Johann
Georg Stauffer, started his workshop in Vienna
in 1800 and it was then taken over by his son,
Johann Anton. And by the Mertz era of the late
1840s most of the elite Stauffer guitars were
being made by their employee Johann Gottfried
Schertzer, who went on to a great career of
his own. The instruments used in this concert
tour are modelled on Stauffer guitars, which in
turn were modelled on the first Italian six-string
guitars.
Of particular note is the small Terz guitar,
made especially for this tour by the Australian
instrument maker Simon Rovis-Hermann. The
instrument, which sounds a minor third higher
than the more common guitar, was popular in
Vienna, and Giuliani and Mertz wrote many of
their duets for this combination, the Terz guitar
playing the first part and a normal guitar playing
the second. But the instrument is rare nowadays
because after the fashion for them passed,
many people mistook them for cheap children’s
guitars and simply threw them away. Most of
Mertz’s published duets are actually for Terz
guitar and normal guitar, including
the three duos by Mertz that
begin this concert and that
he and his wife would have
played together.
Meanwhile, over in Paris and London,
ondon,
Giuliani and Mertz had a Spanish
h
rival who was also staking his
claim to the mantle of the
early 19th century’s greatest
guitarist–composer. Fernando
Sor was born in Barcelona; his
father was an amateur guitarist
who taught him the basics on
the instrument. As a child, Sor
showed incredible musical talent:
nt:
he played several other instruments
ents
as well, among them piano, violin
in
and cello, and was also a gifted
singer. When his father passed
away, Sor was sent to the elite
music school in the Monastery at
Montserrat – and there the brothers
hers
in charge discouraged him from
m
Musica Viva Australia 9
© Keith Saunders
But this interest of the great composers was
only the elite incarnation of what had become
something of a populist guitar phenomenon.
One contemporary account said that Giuliani
‘has formed for us so many outstanding
amateurs that there could scarcely be another
place where authentic guitar playing is so widely
practised as here in our Vienna.’
ABOUT THE MUSIC
playing th
the guitar. Instead,
Sor spent his time writing
for tradition
traditional classical
ensembles
ensembles; by the end
of his scho
schooling, he was
already a ssuccessful opera
composer and would soon
embark on a career as a
symphonis
symphonist.
One of the traditions in the
Monas
Monastery’s school was
tha
that students upon
g
graduation were
g
given a gold coin
tto take back to
th
their families. Sor
use
used his valuable
coin to buy himself
a new guitar,
the instrument
around which
his future fame
would revolve.
Like most
Spanish youths
at the time of
© Keith Saunders
the Peninsula
War, Sor joined the army, and he rose to the rank
of Captain. When the Napoleonic regime moved
into Spain, Sor sided with them, but the French
troops were eventually defeated by Wellington,
and Sor, now perceived as an enemy of his own
state, had no option but to flee into exile. He
ended up in Paris, where he became known as
‘the Beethoven of the guitar’.
From his base in Paris, he commuted regularly
to London, where people simply couldn’t believe
the effects that he produced on the guitar. He
became the only guitarist to perform with the
London Philharmonic Society during its first
century of existence, and as a composer for the
instrument, he had no peer outside of Vienna.
Guitarists flocked to Paris to meet or to study
with him, knowing that when he wasn’t visiting
England they could always track him down
backstage at the Paris Ballet, where he spent
most evenings indulging his lifelong love of the
dance. (He ended up marrying the company’s
prima ballerina, Félicité Hullin.)
10 Musica Viva Australia
In the end, Sor noted down his guitar techniques
in his Méthode pour la guitare, even today
regarded as the greatest instructional book ever
written about the instrument. The Sor method
changed everything about guitar technique as
it had been understood to that point, re-setting
finger and wrist positions on both hands, the
position of the instrument against the player’s
body, and the manner by which the strings were
sent into vibration by the fingers.
As an experienced composer of symphonic
music, Sor brought his skill for instrumental
part-writing to the 400 or more works that he
composed for guitar, writing his parts largely
the same way we write them today, but very
differently from that of his predecessors whose
tablature, deriving from the era when guitars
had lute-style ‘courses’ (pairs, rather than single
strings), was much more rudimentary, and less
capable of expressing the details and nuances
expected from both composers and Classical
music audiences alike.
Two names in particular dominate among the
hundreds of guitarists who became associated
with Sor and his school of guitar-playing. The
first, Spaniard Dionysio Aguado (1784–1849),
went to Paris in 1826 especially to meet the
Fernando Sor
master, giving rise to one of guitar history’s most
famous stories, with Sor overhearing Aguado
playing in their hotel and being enchanted by
his sound even before they met in person and
became the best of friends. Sor composed
guitar duos for them to play together, each
admiring the other’s playing even though their
techniques were radically opposed.
Sor played with the flesh of his fingers only, in
the three-finger style of the old lutenists, but
Aguado was much more modern, using all five
of his fingernails to strike the strings. Neither ever
convinced the other to change his technique
entirely, although each compromised a fraction.
Sor said that Aguado was the only player in
the world who could or should play with nails,
and even then only because his body was
now so used to it that it was too late to change.
For his part, Aguado made one concession:
he cut the nail on his right thumb and started
to use the flesh instead. But he stayed with
the nail for the other four fingers. Most people
still followed Sor, but Aguado became such a
respected and influential figure that their dispute
between flesh and nail technique raged on for
the rest of the 19th century. And longer term, in
the 20th century, Aguado’s technique began to
dominate.
In 1830, Sor and Aguado were joined in Paris by
the Frenchman Napoléon Coste (1805–1883),
Dionysio Aguado
already the author of a
celebrated Guitar Method.
hod.
Initially under Sor’s instruction,
truction,
he spent the bulk of the
he next
decade studying harmony
mony
and counterpoint while
e
composing 60 or more
e
original works for guitar
ar
and adapting many other
her
existing works.
Among these
adaptations by Coste
was Sor’s most
famous – and indeed
very first – work for
guitar duo. Called
L’Encouragement, it’s
© Keith Saunders
a set of variations which
originally followed an earlier convention where
two-guitar works essentially consisted of a solo
and an accompanying instrument. Because
many of these works were intended as teaching
pieces, one part was difficult and the other
easier, with the student and teacher taking on
one or the other part as required according
to the student’s level of proficiency. But as a
master-guitarist himself, who loved playing duos,
Coste set out to create two equal parts for Sor’s
masterpiece. And that’s the version being played
in this program.
Niccolò Paganini
Musica Viva Australia 11
ABOUT THE MUSIC
composers other than Paganini actually wrote
solo pieces of enduring value for it. But in the
latter part of the 19th century, all of that was
about to change, thanks to a revolution in guitar
design and performance.
The instrument maker Antonio de Torres Jurado
(1817–1892) and the guitarist Francisco Tarrega
(1852–1909) first met in 1869 when Tarrega was
just 17. He was taken to Torres’ factory in Seville
so that a patron could buy him one of Torres’
basic models. But when Torres heard him play,
he offered one of his finest, most revolutionary
instruments. This new Torres guitar was larger
than those known by Sor, Giuliani and Paganini,
and it had a greater resonance. While it required
larger hands to play it, it could be heard in
much bigger halls with many more people in
attendance. Tarrega went on to become the
master of this new instrument, the first truly
modern guitar.
While Sor was always known as a masterguitarist, Paganini’s reputation on the instrument
has been masked by his mythical status as a
violinist. (His feats on the violin were so legendary
that he was known to carry his birth certificate
with him to prove his mortality!) Although
Paganini never really played guitar in public, he
took the instrument very seriously indeed, and
those like Berlioz and Carulli who heard him said
that the sound and the effects that he achieved
on it were incredible.
Paganini learned guitar from his violin teacher
Rolla and during their violin lessons, Rolla would
accompany him on guitar. Years later, Paganini
did the same with his own violin students. In
total he composed more than 140 pieces for
guitar – many more than he did for the violin –
and he probably wrote many of his violin works
on guitar as well, in the first instance, and then
embellished them when it came to making the
violin scores. But even though he composed so
much music for guitar, it’s rarely heard today, in
part a legacy of his sketchy method of notating
them.
Tarrega had a star pupil, Miguel Llobet (1878–
1938), who in turn introduced a self-taught
young Andalucian guitarist to the music of
Tarrega, Granados and so many others. His
name was Andrés Segovia (1893–1987), the
best-known figure in the history of the modern
guitar. When he was jjust 12 yyears
of age, Segovia heard
d Tarrega’s
Preludes for the first time, played by
the composer himself.
lf. Later he wrote,
‘I felt like crying, laughing,
hing, even
like kissing the handss of
a man who could draw
aw
such beautiful sounds
ds
from the guitar.’
Segovia had found his
is
calling in life, and the
e
history of the guitar was
changed forever.
So even though it was so popular among them,
the fact remains that none of the early Romantic
About the Music and Further Exploration © Martin Buzacott 2012
12 Musica Viva Australia
© Keith Saunders
Antonio de Torres Jurado
© Keith Saunders
INTERVIEWS
KARIN SCHAUPP
Karin Schaupp was four years old when her
grandmother, Lieselotte Reinke, gave her her
first guitar. It is a common enough kind of story.
But in Schaupp’s case, the tale has unexpected
twists. Four years later, she and her family
moved from Germany to Australia. Three years
after that, she gave her first public performance
with an orchestra. Within a further six years, she
had launched an impressive solo career. And
after two decades of professional success as a
musician, Schaupp took her first steps on stage
in a different profession – as an actor. She was
her grandmother Lieselotte, her mother Isolde,
and herself, in the play David Williamson had
written for her, Lotte’s Gift.
In this tour, she will speak as well as playing,
sharing with her colleague Pavel Steidl the
introductions to a program portraying the history
of the guitar. ‘I feel comfortable with words,’
Schapp says. ‘I would have to say probably as
comfortable as I do in music.’
Her work on Williamson’s play included intensive
acting study that influenced not only how she
now feels about speaking on stage, but also,
she says, the way she plays. ‘When you act
with words, it’s instantly obvious to everybody in
the audience if even for one sentence you don’t
mean it. In instrumental music, that translates
to every note. As an actor, you can’t hide. You
can’t keep some of yourself back. That has had
a huge effect on the way that I play.’
As a musician today, Schaupp admits that she
lives dangerously. ‘Look, I think life’s too short
to be not taking risks,’ she says. ‘I mean that
in terms of going to the edge of your technical
ability, but also in terms of being able to bare
your soul and have the kind of complete
abandon we all recognise when we see it on
stage.’
There is one other guitarist in the world who
for Schaupp embodies these qualities. When
Musica Viva invited her to nominate the duo
partner of her choice for the tour, Schaupp
did not hesitate. ‘I had attended Pavel Steidl’s
concerts,’ she explains. ‘I was of course
completely awe-struck. He has incredible
technique, incredible sophistication in terms of
what he can do, but much more than that, he
really plays from the soul. His sense of colour
is incredible, and he’s flamboyant in the best
Musica Viva Australia 13
© Keith Saunders
INTERVIEWS
the first half on 19th-century and the second half
on modern instruments.
‘The guitar is probably the world’s most popular
instrument,’ Schaupp says. ‘It has a wonderful
history, with many anecdotes along the way.
Chopin, for instance, is quoted as saying,
‘Nothing is more beautiful than a guitar, save
perhaps two’ – and yet he never wrote a single
note for the instrument...
‘Probably most of the audience won’t be familiar
with a lot of the repertoire we’re playing, so this
concert will introduce them to that world, and how
this repertoire came about, and what it means.’
As a teenager, Schaupp suffered acutely from
stage fright. Determined to overcome it, she
turned to techniques from the world of highperformance sport.
possible sense. But then I have to say my next
thought was, ‘Wow! I wish I could play with
him one day.’ I had an intuitive certainty that we
would connect very strongly.’
In Steidl, Schaupp recognised a fellow risk-taker.
And there are few things in the world of music
riskier than a guitar duo. ‘It is one of the most
treacherous formations, because the guitar has
such a short attack.’ But the rewards, she adds,
are great: ‘As soon as you go on stage with
another artist, you have a kind of dialogue, and
the audience gets to become part of an intimate
conversation between the performers.’
Together, the two have come up with a program
which presents a short history of the guitar, with
‘Athletes receive a huge amount of mental
training. They are taught imagery, relaxation
and cognitive skills throughout their training.
Musicians are under similar pressure, but they’re
usually left to their own devices. All the time, you
see talented musicians who have invested most
of their lives in their art. They have a lot to lose,
and they suffer the most from stage fright. But
there are simple skills that can easily be taught.’
Schaupp wrote her Master’s thesis on the
application of practical tools learned from sports
psychologists to the world of music performance,
running a series of hugely successful trials
with music students. Now she lectures on the
subject, and plans, eventually, to publish a book.
‘It will happen,’ she declares confidently. ‘It’s just
a matter of when. I don’t understand how people
ever get bored in life. I always have at least fifty
things that I want to do.’
PAVEL STEIDL
When I spoke with Pavel Steidl, he had just
arrived back at his Czech home after a flying
visit to Brisbane, made solely for the purpose of
working with Karin Schaupp on the repertoire for
this 2013 tour.
‘This was the first time I’d played with her, but
it didn’t feel like it,’ says Steidl. ‘We met for the
first time about a decade ago in Darwin, at a big
guitar festival. I heard her concert, she heard
mine, and we both had the feeling that we have
14 Musica Viva Australia
the same opinion about the way we make music.
And when we are playing, I have the feeling that
we don’t need to speak much about what to
do; we’re on the same path. Karin has incredibly
strong expression, and a very original personality
which you can hear immediately when she starts
to play. It’s fantastic.’
Though Schaupp is Australian and Steidl Czech,
the two share certain biographical parallels. Steidl’s
name reveals the German origins of his Czech
© Keith Saunders
Steidl have resolved to pick up the threads of
history with the music of 19th-century composer
Johann Kaspar Mertz. ‘For me he is one of the
strongest composers in that period,’ Steidl says.
‘At the time the guitar was a salon instrument,
but he was searching for a bigger sound, and
wrote some of the strongest Romantic music for
the instrument.’
Steidl will perform some of Paganini’s guitar
music, which he has made a personal speciality,
reconstructing the composer’s bemusingly
sketchy scores into the kinds of display pieces
they were probably meant to be. ‘Paganini was
mostly known as a violin player, but his secret
love was always the guitar, which he only played
in private. The music he left looks very easy, but
Hector Berlioz describes in his memoirs how
Paganini played the guitar with a virtuosity which
he’d never heard before. So you have to use
your intuition and build on the written notes with
colours, ornamentation and cadenzas.’
family history; Schaupp was born in Germany.
Schaupp left Germany with her family when she
was eight years old, and has remained in Australia
ever since. Steidl was granted political asylum in
the Netherlands as a 26-year-old, a move which
he describes as both unavoidable and traumatic.
‘It is a major decision to leave your home country
and start somewhere else, but I needed the
freedom. At home they were pushing me to join
the Communist Party and collect information.
I arrived with very weak English, but after a year
I could speak Dutch. What I had to learn was
that you could say what you really feel.’
In Czechoslovakia, where Steidl had begun his
guitar career as a child bluegrass musician,
he had come to see music as a means of
expressing officially forbidden thoughts. ‘You
discover that music is really language,’ he
explains. ‘It’s language through which you can
communicate with people on the whole planet.
Music is really magic. It doesn’t come from the
brain or the fingers. It comes from somewhere
very deep, from the soul.’
Today, Steidl lives with his wife back in the
rural area near Prague from which his happiest
childhood memories stem, and regrets only that
his busy touring schedule does not permit him
more time at home.
Despite the earlier popularity of the lute, theorbo,
and other relatives of the guitar, Schaupp and
They will play the entire first half of the concert on
19th-century instruments, including a small ‘Terz’
guitar, which sounds a third higher than normal
instruments, made specially for the tour. For the
program’s second half, performed on modern
instruments, Steidl and Schaupp will assemble a
mixture of Spanish, South American, Australian
and Czech repertoire. As well as transcriptions
of Romantic repertoire (Granados and Albéniz),
the two will interleave recent Australian works
by Phillip Houghton and Ross Edwards with
that of Leoš Janáček: a transcription of music
from his autobiographical keyboard cycle On an
Overgrown Path.
There is, says Steidl, a strong congruity
between Australian music and that of Janáček –
something he first discovered through the music
of Peter Sculthorpe. ‘The sound of language,
the sound of nature, the birds, the trees –
everything is in there. This is for me why
Australian music is some of the strongest of
the 20th century. And Janáček’s music was a
strong influence.’
In this, too, then, Steidl feels a closer musical
connection to Schaupp than the 16,000km
which separate their homes would tend to
suggest.
‘I was born in Czechoslovakia, where we were
not allowed to travel,’ he reflects. ‘And over the
last ten years I’ve been to Australia four times.
It’s not bad, is it? I’m a lucky person, actually.’
Shirley Apthorp © 2012
Musica Viva Australia 15
Summer Festivals of America
22 July to 5 August 2013
J Musica Viva’s CEO Mary Jo Capps for four of America’s leading summer cultural events: the
Join
C
Carmel Bach Festival, Music@Menlo, Aspen Music Festival and the Santa Fe Opera.
SSee and hear the cream of America’s extraordinary talent and the best from around the world.
M
Marvel at a panorama of glorious landscapes, from the Big Sur of California to the Rocky Mountains
o
of Colorado and the high desert of New Mexico.
For detailed information visit www.renaissancetours.com.au
call 1300 727 095 or contact your travel agent
DR STEVEN KINSTON (1908–1996)
The Brisbane concert on 6 March is presented in memory of Dr Steven Kinston.
A dental practitioner and a fine pianist,
Dr Steven Kinston was one of a number of
European immigrants whose contribution to
Australia’s artistic life in the 1950s and 1960s
helped transform the soul and face of the
nation.
When he and his younger brother, Paul, arrived
in Brisbane in 1938 as Jewish refugees, they
found a place where the arts were struggling
to gain a foothold in a relatively new nation.
Over the next decade, Dr Kinston contributed
substantially to the development of Brisbane’s
artistic life, founding the Brisbane branch of
Musica Viva Australia.
Born in 1908 in the small town of Kolomea,
Romania, Steven Kinston grew up in
Czernowicz (Cernăuti‚), where anti-Semitism
and discrimination marred his childhood.
Although possessing high intelligence and
musical ability, he was barred entrance to any
local university. He travelled to Italy, where antiJewish feeling was less pronounced, and was
welcomed into both the University of Florence
and, simultaneously, that city’s Luigi Cherubini
Conservatorium of Music. In 1933 he graduated
with an unprecedented two degrees: one in
medicine, with a speciality in dentistry, and
another from the Conservatorium, where he also
won a national piano competition.
At this time it became obvious to Dr Kinston
that his family needed to find a new life and a
new country if they were to survive Mussolini’s
alliance with Hitler. He was granted refugee
status by Australia and before emigrating
returned to Romania to say farewell to his
parents. The Romanian government immediately
conscripted Dr Kinston into the army and
prevented his leaving the country. Only a series
of undercover arrangements allowed him and
his brother to cross the border to freedom.
When business and personal commitments
necessitated the family’s move to Sydney many
years later, Dr Kinston remained a passionate
supporter of Musica Viva and of the arts in
general. His achievements were made possible
through the support and encouragement of his
wife, Lena. Throughout their 53 years together,
he was intensely devoted to her and to their two
children.
His lifetime commitment to his adopted
country was epitomised by one of his favourite
sayings: ‘The soul of a country is expressed in
its art.’
David Colville
After his arrival in Brisbane he auditioned for the
ABC and was accepted on its roster of soloists.
He also established a successful dental
practice.
Musica Viva Australia 17
FURTHER EXPLORATION
Books
A number of outstanding books have been
written on the history of the classical guitar, but
none is better than Graham Wade’s Traditions
of the Classical Guitar (Calder, 1980), a
thoroughly researched but extremely readable
account of many of the events and composers
covered in this concert. Also useful are Harvey
Turnbull’s The Guitar from the Renaissance to
the Present Day (Scribner, 1974), Alexander
Bellow’s The Illustrated History of the Guitar
(Colombo, 1974), and Tom and Mary Anne
Evans’ Guitars: From the Renaissance to Rock
(Paddington, 1977).
Walter Aaron Clark seems to have cornered
the market on both Granados and Albéniz
with his books Isaac Albéniz: Portrait of a
Romantic (1999) and Enrique Granados: Poet
of the Piano (2006), both published by Oxford
University Press.
Much of the information about Janáček is
in Czech, but there’s a very helpful Englishlanguage website at www.leosjanacek.co.uk,
plus John Tyrell’s two-volume biography
Janáček: Years of a Life (Faber, 2006 and
2007).
And both Ross Edwards and Phillip
Houghton have their own websites:
www.rossedwards.com and
www.philliphoughton.com.au
Recordings
Despite the tragedy of Ida Presti’s premature
death, the Presti–Lagoya Duo made many
recordings for the likes of Philips and French
RCA. The original LP recordings have gone
through various CD incarnations over the
years. More than three hours’ worth of their
duo repertoire is included on the 6CD L’Art
de Alexandre Lagoya avec Ida Presti (Philips
476 2356, available online) which is highly
recommended, as is Ida Presti’s own The Art
of Ida Presti: Studio Recordings 1938–1956
(IDI [Istituto Discografico Italiano] IDIS6642, also
available online). Presti’s incredible technique
can be seen in action playing Heitor Villa-Lobos’
Prelude no 1 in a jaw-dropping performance on
YouTube.
18 Musica Viva Australia
Julian Bream and John Williams formed one
of the greatest guitar duos of the 20th century.
Bream was an inspired Englishman following his
musical fancy wherever it led him, while Williams,
the Australian, had a prodigious technique that
could make even the most difficult pieces
appear easy. Their popular recordings for RCA
include Together, and the follow-up Together
Again.
Another guitar duo worth investigating is The
Athenian Guitar Duo, also known as Evangelos
and Liza, who were Greek and studied with
Presti–Lagoya. Duo Pomponio–Zárate were
another male–female guitar duo, as were
Ako Ito and Henri Dorigny (Ito came from
Japan). The Abreu Brothers and the Assad
Brothers were Brazilian, the latter being closely
associated with composer Radamés Gnattali
and having a wonderful discography on
Nonesuch.
And of course both Karin Schaupp and Pavel
Steidl have extensive discographies – details are
included in the Meet the Musicians section, on
pages 5 and 6.
Instrument details
Karin Schaupp plays a Romantic guitar by
Simon Rovis-Hermann (Perth, 2007) after
Gaetano Guadagnini; a Terz guitar by Simon
Rovis-Hermann (Perth, 2012) after Johann Anton
Stauffer; and a modern guitar (wave top) by
Jim Redgate (Adelaide, 2010).
Pavel Steidl plays a modern guitar by Franz
Butscher (Granada, 2007); and a Romantic
guitar by Bernhard Kresse (Cologne, 2005),
after Johann Anton Stauffer.
International Concert Season 2013
Europe’s electrifying Morgenstern Trio join
charismatic violist Christopher Moore for
rarely-performed masterpieces by Mahler,
Schumann, Edwards and Beethoven.
TOURING 20 APRIL – 4 MAY
Sydney, Melbourne,
Adelaide, Brisbane,
Perth, Newcastle
To book tickets call 1800 688 482 or visit musicaviva.com.au/morgenstern
SYDNEY CONSERVATORIUM OF MUSIC
Cnr Bridge & Macquarie Streets,
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access package
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musicavivafestival.com.au | 1800688482
Presented in association with the Australian Youth Orchestra and the Conservatorium of Music
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20 Musica Viva Australia
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Musica Viva Australia 21
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22 Musica Viva Australia
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Musica Viva Australia 23
MUSICA VIVA CONCERT PARTNERS
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Musica Viva is assisted by the Commonwealth Government through
the Australia Council, its arts funding and advisory body. Musica Viva
is assisted by the NSW Government through Arts NSW.
24 Musica Viva Australia
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Hamer Family Fund
In memory of
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E H Flack Trust
SPECIAL PROJECTS
Indigenous Ensemble Development Partner
Musica Viva Australia 25
STORIES TO INSPIRE
Nurturing Singing Seniors
Viva Voices aims to deliver health and wellbeing
benefits to senior citizens, giving senior
Australians the opportunity to be creative and
participate in music making through singing.
Market research carried out during 2012
demonstrated keen interest nationally amongst
community organisations to develop seniors
singing groups, with a particularly strong
response from Victoria. A pilot training workshop
for music facilitators or potential leaders for
seniors singing groups was held in Melbourne at
Boyd Assembly Hall on 23 November.
Over 40 participants came from across Victoria
to join the workshop, which put into practice
warm-up exercises, repertoire and techniques
for group facilitators to use working with older
singers. Linda Marr, founding music facilitator
of Sweet Tonic senior singers in Campbelltown,
led the workshop. Thanks must go to the Lord
Mayor’s Charitable Foundation for funding
support.
Participants responded enthusiastically to the
idea of growing the number of seniors singing,
and this, coupled with learnings from pilot
projects in 2007–2011, has contributed to an
extensive suite of resources now available to
26 Musica Viva Australia
assist community organisations and seniors
singing group leaders: the Viva Voices Handbook
and the Viva Voices Music Facilitators Training
Package. These can be ordered for delivery
as downloadable documents or in print format
(www.musicaviva.com.au/education/vivavoices).
The Viva Voices Handbook outlines a typical
program structure, the role of the music
facilitator, a sample 20-week program, health
and wellbeing benefits, and other useful
information for groups wanting to grow
opportunities for seniors singing. The Viva Voices
Music Facilitators Training Package includes a
range of resources, including video materials and
sample repertoire.
Musica Viva is seeking federal support to
develop these materials, explore further training
opportunities and provide an online platform for
ongoing interaction and promotion of seniors
singing activities nationally.
One singer, from Rosebud in Victoria, described
the impact of taking part: ‘Seeing the joy on
faces when our goals had been reached and the
bonding of the singers was a soul experience.’
Practising warm-up exercises at the Viva Voices Music
Facilitators Training Workshop.
Composer in the Classroom in
Mount Isa
In December 2012 Musica Viva In Schools
presented a special two-day Composer in the
Classroom program at Healy State School in
Mount Isa, led by widely acclaimed Australian
composer and performing artist Paul Jarman.
Paul worked with teachers and students
to create joyful live music making activities
that promoted team work and cooperation,
confidence and self-expression.
Being a mining town, Mount Isa attracts families
from all over the world, and Healy State School
has a multicultural student population with many
nationalities represented. In addition, over half of
the 200 students at the school are Indigenous.
Paul was the perfect candidate to present the
program as he is committed to community arts
and to celebrating a deep understanding of
Australian culture and history. At Mount Isa, Paul
used music and composition to help students to
express themselves and share their stories, while
embracing social harmony and diversity within
the school community.
Musica Viva would like to thank the Tim Fairfax
Family Foundation for supporting our education
programs in regional Queensland. With their
help, Musica Viva is able to deliver quality music
education programs to children living in remote
areas of the state who would otherwise not have
access to them.
Paul Jarman with teacher and students at Healy State School.
Quality Music, Quality Advice
Musica Viva Australia is delighted to announce a
three-year partnership with leading independent
advisory firm Dixon Advisory Group. Dixon
Advisory is Musica Viva’s Premier Partner of the
Coffee Concert Series in Sydney and Melbourne.
The Coffee Concert Series commences in March
in both cities and showcases the best Australian
chamber musicians. Musica Viva identified the
opportunity to partner with Dixon Advisory as
both organisations share the same commitment
to quality and culture.
Kate Dixon commented on the partnership in a
recent Dixon Advisory newsletter: ‘Musica Viva
helps people enjoy some of the best international
musicians with their concert series, helps the
careers of Australian musicians and composers,
helps bring music to regional areas and helps
teachers and children with their work in school.
‘I hope our clients and staff will welcome this
partnership with its special opportunities for
musical experiences and the chance to support
Musica Viva’s varied and valuable work.’
Dixon Advisory helps over 15,000 families
with their superannuation and financial affairs,
including 4,000 self-managed super funds
(SMSFs) with a combined asset base in excess
of $4 billion. The partnership highlights the role
of businesses and the arts and how we can
symbiotically support the community – Dixon
Advisory with quality financial advice, and Musica
Viva with quality fine music.
Musica Viva Australia 27
FOR YOUR CONCERT ENJOYMENT
GIVE THIS CONCERT YOUR BEST PERFORMANCE…
We offer these suggestions in the
knowledge that you want to enjoy every
Musica Viva Australia concert to the full.
So please…
ARRIVE IN PLENTY OF TIME. In most venues,
staff will not admit latecomers until a suitable
break in the performance. Musica Viva and
venue management reserve the right of refusing
admission.
SWITCH OFF YOUR MOBILE PHONE and
OTHER ELECTRONIC DEVICES before the
concert commences. Most venues request that
these devices be placed in the Cloak Room and
not brought into the auditorium. Patrons expecting
emergency calls should leave their seat numbers
with the House Manager.
ACCESSIBILITY. Musica Viva concert venues are
committed to providing the best possible services
for patrons with disabilities. Please let the staff know
of your special requirements at the time of booking
or when you arrive.
For hearing impaired patrons, most halls provide a
hearing induction loop you may access. In order to
do this, please switch your hearing aid to the “T”
position.
NOTE THE LOCATION OF THE CLOSEST EXIT
SIGN. In the unlikely event of an emergency, please
listen carefully to the staff’s instructions. Venue staff
are trained in emergency procedures and will assist
and direct you should such an occasion arise.
DO NOT TAKE PHOTOGRAPHS, VIDEO OR
SOUND RECORDINGS OF THE
PERFORMANCE. Most venues strictly prohibit this,
and it may also breach copyright.
COVER YOUR MOUTH WHEN COUGHING IS
UNAVOIDABLE. Other patrons will appreciate your
consideration and health-consciousness when you
muffle coughing.
RESERVE APPLAUSE UNTIL THE CONCLUSION
OF EACH WORK. A good rule of thumb is to show
your appreciation at the conclusion of a work – then
you can clap as long and loudly as you like!
DON’T CHAT DURING THE PERFORMANCE.
We’re all used to the informality of listening to the
radio or a CD/DVD at home, but imagine how
distracting it could become if you had hundreds of
people at home with you.
WAIT UNTIL THE PERFORMERS HAVE TAKEN
THEIR FINAL BOW BEFORE LEAVING THE
HALL. It’s difficult to squeeze past other seated
patrons, and you might just miss an unforgettable
encore.
Smoking is not permitted in this venue.
Musica Viva Australia reserves the right to alter
without notice programs, performers, dates, times,
venues and/or prices as may become necessary.
…FELLOW PATRONS WILL APPRECIATE YOUR THOUGHTFULNESS AND COURTESY.
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