476 3627

Karin Schaupp

Spain

GREAT
GUITAR
CONCERTOS

1
2
3

Spain

JOAQUN RODRIGO 1901-1999

Concierto de Aranjuez
I.
Allegro con spirito
II. Adagio
Solo cor anglais: Dinah Woods
III. Allegro gentile
Tasmanian Symphony Orchestra
Benjamin Northey conductor

[2242]
555
1146
456

4
5
6
7
8
9
0

MARIO CASTELNUOVO-TEDESCO 1895-1968

Romancero gitano (Gypsy Ballads)
I.
Baladilla de los tres ros (Song of the Three Rivers)
II. La guitarra (The Guitar)
III. Pual (Dagger)
IV. Procesion (Procession)
V. Memento (Eulogy)
VI. Baile (Dance)
VII. Crtalo (Castanet)
Cantillation
Philip Chu conductor

!
@

SALVADOR BACARISSE 1898-1963

Concertino for guitar and orchestra in A minor, Op. 72
I.
Allegro
II. Romanza (Andante)
III. Scherzo (Allegretto)
IV. Rondo (Allegro ben misurato)
Tasmanian Symphony Orchestra
Benjamin Northey conductor

Total Playing Time

Karin Schaupp guitar
2

[2316]
446
346
128
755
150
200
116

[2215]
826
613
202
523

6840

Concierto de Aranjuez

Joaqun Rodrigo was born in Sagunto (Valencia)

in 1901. As a result of an epidemic of diphtheria,
he lost his eyesight completely at the age of
three. For some, such a sensory deprivation may
have precluded many creative pursuits; it simply
made Rodrigo more determined to excel at
music. His first compositions date from about
1923. He wrote in braille and then dictated his
scores afterwards to a copyist. His wife, the
pianist Victoria Kamhi, whom he married in 1933,
was his copyist and most important musical
collaborator until her death in 1997.

It is unlikely that when Rodrigo composed his

Concierto de Aranjuez he envisaged it would one
day be transcribed for flugelhorn solo with brass
band accompaniment and used in a smash-hit
movie (Brassed Off ). Nor would he have
expected it to form the basis of an array of
popular and jazz classics, or even television
advertisements! The Concierto de Aranjuez is
arguably one of classical musics most famous
concertos and definitely the most universally
popular work ever composed for guitar.

The Concierto de Aranjuez shows Rodrigo to be

a member of the group of Spanish composers of
the generation following Falla, who followed the
lead of that composers later works in recovering
for contemporary music some of the old
traditions of Spanish music, notably in the
Baroque and Rococo styles. In the case of the
Concierto de Aranjuez, Rodrigo was particularly
inspired by the spirit of the palace which gives
his concerto its name, and the music which was
played there in the 18th century, but its
references transcend that, and comment on the
essence of Spanishness in music, as the
composer explains:

The work was composed in Paris in 1939 during

a particularly bleak period in Spanish history
the Civil War was barely over and the Second
World War had barely begun. Rodrigo dedicated
the concerto to the Spanish guitarist Regino
Sainz de la Maza, who gave the first
performance in Madrid in 1940.
Despite his fame as the composer of that
concerto, Rodrigos oeuvre comprises over 60
vocal and choral works, including major song
cycles, as well as a vast number of other
instrumental works. As Rodrigos daughter
Cecilia once commented: The music [my father]
wrote for guitar is so famous that it
overshadowed everything else. It is not fair, but
then life is not fair it happened to Ravel and his
Bolero and to Bernstein with West Side Story.

Throughout the veins of Spanish music, a

profound rhythmic beat seems to be diffused by
a strange phantasmagoric, colossal and
multiform instrument an instrument idealised in
the fiery imagination of Albniz, Granados, Falla
4

and Turina. It is an imaginary instrument that

might be said to possess the wings of the harp,
the heart of the grand piano and the soul of the
guitarIt would be unjust to expect strong
sonorities from this Concierto; they would
falsify its essence and distort an instrument
made for subtle ambiguities. Its strength is to
be found in its very lightness and in the intensity
of its contrasts. The Concierto de Aranjuez is
meant to sound like the hidden breeze that stirs
the treetops in the parks, and it should be only
as strong as a butterfly and as dainty as a
veronica. [Veronica is the name given in Spain to
a particularly deft pass in bullfighting, named
after the veil with which St Veronica is said to
have wiped Christs brow as he carried his cross.]

given birth to a stillborn baby; many years later,

she described it as an evocation of the happy
days of our honeymoon, when we walked in the
park at Aranjuez. The Adagio is launched by a
series of B minor chords in the solo part. What
follows is a mournful dialogue between the
guitar and orchestral soloists, especially the
plangent cor anglais.
A spirited rococo-flavoured court dance, the third
movement is similar in feel to the first
movement. Once again, shifting rhythmic
impulses dapple the orchestral texture. Despite
the lilting simplicity of this movement, the
soloist is required to negotiate almost the entire
range of the guitars possibilities.
The stylish and discreet scoring of the Concierto
guarantees that a feeling of airiness prevails; it
is, as Rodrigo described it, a curious mixture of
the passion of the flamenco and the restraint of
the Baroque.

The Concierto de Aranjuez is in three

movements. The first has the character of a folk
dance. Its dominating force is rhythm, with the
patterns of shifting accentuation giving it
piquancy; Rodrigo referred to these
syncopations as insistent rhythmic surges. The
melody darts between flamenco idioms (one of
which, a cello solo, recalls a saeta or arrow of
song) and modern harmonies.

Hilary Shrubb
Symphony Australia

The haunting and bittersweet slow movement

(familiar to some as the 1960s pop song
Aranjuez mon amour ) is the epitome of eloquent
appeal. Music of profound tenderness,
vulnerability and depth of feeling, it is Rodrigos
prayer for the recovery of his wife, who had just
5

Romancero gitano

his piano quintet was on the program of the

1932 International Festival of Venice. Segovia
was at the Festival and admired the quintet; he
met Castelnuovo-Tedesco several times but it
was not until the last day that he made the
suggestion via Castelnuovo-Tedescos wife
Clara, during a vaporetto ride to the Lido: Ive
never dared to ask your husband for anything,
but I would be delighted if he were willing to
write a piece for me.

Gypsy Ballads, claims the title, and the music

doesnt disappoint, with its flamenco flourishes
and soulful vocal lines. Its perhaps ironic, then,
that neither the music nor the words can claim
any genuine gypsy blood: the piece was written
in the United States by an Italian composer; the
poetry is most certainly Spanish Andalusian,
indeed but its author, Federico Garca Lorca,
was from a land-owning family and university
educated. The poems of his Romancero gitano
collection, however, rang so true that many of
his Spanish readers believed him to be a gypsy
himself. Similarly, composer Mario CastelnuovoTedesco, though neither Spanish nor a guitarist,
was able with his very first pieces for the
instrument to so impress the great Spanish
virtuoso Andrs Segovia that he exclaimed,
It is the first time I have met a musician who
understands immediately how to write for
the guitar!

The message relayed, Castelnuovo-Tedesco

replied warmly that he would be delighted, but I
must confess that I dont know your instrument
and havent the remotest idea how to compose
for it. Segovia sent him a note explaining how a
guitar is tuned, and two pieces which would
show what the instrument is capable of: Sors
Variations on a theme by Mozart and Ponces
Variations and Fugue on La Folia. Armed with
nothing more, Castelnuovo-Tedesco threw
himself into the project and discovered an
affinity for the instrument which would see him
create one of the largest and most important
bodies of work for the modern guitar, including
what he believed to be the first guitar concerto of
the 20th century, preceding Rodrigos Concierto
de Aranjuez by several months. (In fact, there had
been one earlier concerto, by the Mexican
composer Rafael Adame, nine years before, in
1930. But Segovia considered CastelnuovoTedescos the main work which proved that it was
possible to balance guitar and orchestra.)

Until his meeting with Segovia, CastelnuovoTedesco had never even thought of composing
for the guitar. He had written an opera,
Mandragora, which had found favour with his
friend Puccini (who in turn showed CastelnuovoTedesco his current work-in-progress, Turandot);
his piano music was being performed by Walter
Gieseking; Jascha Heifetz had taken his
Concerto italiano into his concert repertory; and
6

could be translated into music: the landscapes I

saw, the books I read, the pictures and statues I
admired.) As in traditional flamenco, however,
the intensity of the emotion is the essence of
the music, recalling the cante jondo or deep
song in which the singer expresses their inmost
feelings. And just as most forms of cante jondo
open with a guitar prelude, so too each
movement of the Romancero gitano begins with
solo guitar though without the wordless
vocalisations of traditional flamenco.

Castelnuovo-Tedesco had spent time in Spain as

a young man his visit there had been a
graduation present in 1913 and the country
made a profound impression on him, especially
Granada. (When the great Spanish composer
Manuel de Falla, who had recently adopted
Granada as his home town, visited CastelnuovoTedesco in Florence in 1920, the two spent
much of their time together admiring each
others cities.) His Romancero gitano is most
Spanish in its guitar writing unsurprisingly,
since flamenco song is music for the solo voice,
not for a four-part chorus, and its almost riotous
freedom of expression would become a chaotic
free-for-all if extended to the medium of choir.
The choral writing is more Romantic than rustic,
though with a madrigalesque clarity in the vocal
lines that reminds us of Castelnuovo-Tedescos
deep affection for the musical traditions of Italy.
That said, the imitative entries which feature
throughout the work generally the upper
voices echoed by the lower are perhaps also
the subtlest of homages to the flamenco
performance tradition where the singer is
answered with cries of encouragement and
admiration from the listeners.

It was from Lorcas 1921 collection Poema del

cante jondo (not, as one might expect, from his
Romancero gitano) that Castelnuovo-Tedesco
took the texts for this work. Baladilla de los tres
ros is a passionate outpouring of that distinctive
blend of love and painful longing so
characteristic of flamenco: the poem contrasts
the mighty Guadalquivir River, the great
waterway of Spain that carries ships from Seville
to the sea, with the rivers of Granada, the Dauro
(now Darro) and the Genil, on which nothing
rows but sighs. Castelnuovo-Tedesco gives the
desolate refrain Ah, love, that left and did not
return! to solo voices over strummed guitar, in
flamenco style.

The guitar writing has less of the dramatic

rasgueado strumming than traditional flamenco,
and is at times quite pictorial. (Only a year
before composing the Romancero gitano,
Castelnuovo-Tedesco wrote that musics
expressive power was such that everything

The gentle elegance of the music in La Guitarra

casts the aching passion of the poem into sharp
relief. Not until the final line O guitar! Heart
stabbed by five swords does the emotion burst
out; Castelnuovo-Tedesco uses the characteristic
7

melismas of flamenco to convey the agony

inflicted by the guitarists five fingers. In Pual,
however, the violence is laid bare right from the
start, with the guitars aggressive introduction
(marked ferociously fast) and the heavily
accented entries from the choir.
Procesion takes us to a different world with
three poems inspired by the public processions
that traditionally (and still to this day) form part
of the Holy Week observances in many Spanish
towns. The unicorns of the first poem are the
penitents in their tall, pointed hoods, who seem
to belong to a strange medieval fantasy world of
wizards and knights-errant. In Paso, the guitar
gives us the slow, steady pacing of the men
carrying an enormous statue of the Virgin Mary.
Saeta means arrow, and is the name of a
particular genre of cante jondo in which
individual worshippers, overwhelmed by the
emotion of the event, suddenly launch into song,
expressing their feelings and prayers in music.
The Christ who inspires this saeta is darkskinned, burnt by the scorching sun of the south
one with the very landscape of Andalusia.

whimsical quality about Castelnuovo-Tedescos

setting which matches the shifting mood of the
poem, from stately dignity to what seems like
throw-away humour though the image of the
weathervane is one which Lorca used elsewhere
to express alienation and abandonment, so
perhaps the last stanza is not meant to be quite
as absurd as it seems.

Siegfried Behrend and the RIAS Chorus in Berlin.

Castelnuovo-Tedesco was however fond of
saying that Lorcas lines When I die, bury me
with my guitar under the sand among the
orange trees and the peppermint should serve
as his epitaph, as their melancholy sweetness
so perfectly encapsulated his love for Spain and
for the instrument at its heart the guitar.

Baile is a seguidilla; this time CastelnuovoTedesco has used the non-flamenco Castilian
dance as his model, rather than the flamenco
siguiriyas. Both are traditionally performed with
castanets, however, and Castelnuovo-Tedesco
has the women of the choir filling in the castanet
part with the sound of their consonants.

Natalie Shea

Castanets feature again in the final movement,

Crtalo. There is something onomatopoeic
about the word (which, incidentally, means
rattlesnake as well as castanets), and the
rhythmic energy of the piece brings out both the
sound of the instrument and the sinister tone of
Lorcas poem.
Castelnuovo-Tedesco was living in the US in
1951, when he composed the Romancero
gitano: far from both his beloved native Florence
and his spiritual home Granada. Its not clear
what prompted him to write the work his only
composition for this unusual medium and it
was premiered some years after its composition,
not by Segovia, but by the German guitarist

Memento is a tango andaluz the flamenco

tango which may have influenced the
Argentinian tango, though the two are quite
different in style. The Andalusian tango in turn
seems to have grown out of the habanera, the
slow Cuban dance with its distinctive rhythmic
pattern of triplets and duplets. There is a
8

Baladilla de los tres rios

El ro Guadalquivir
va entre naranjos y olivos.
Los dos ros de Granada
bajan de la nieve al trigo.
Ay, amor
que se fue y no vino!

Song of the Three Rivers

The river Guadalquivir
flows through orange and olive groves.
The two rivers in Granada
descend from snow to wheat.
Ow, love,
that left and did not return!

El ro Guadalquivir
tiene las barbas granates.
Los dos ros de Granada,
uno llanto y otro sangre.
Ay, amor
que se fue por el aire!

The river Guadalquivir

has a garnet-coloured beard.
The two rivers of Granada,
one tears, the other blood.
Ow, love,
that vanished into thin air!

Para los barcos de vela,

Sevilla tiene un camino;
por el agua de Granada
Slo reman los suspiros.
Ay, amor
que se fue y no vino!

For sailing ships

Seville has a passage;
through the waters of Granada
only sighs row.
Ow, love,
that left and did not return!

Guadalquivir, alta torre

y viento en los naranjales.
Dauro y Genil, torrecillas
muertas sobre los estanques.
Ay, amor
que se fue por el aire!

Guadalquivir, high tower

and wind in the orange groves.
Dauro and Genil, little towers
dead above the ponds.
Ow, love,
that vanished into thin air!

Quin dir que el agua lleva

un fuego fatuo de gritos!
Ay, amor
que se fue y no vino!

Who can tell that the water carries

will-o-the-wisp cries!
Ow, love,
that left and did not return!

Lleva azahar, lleva olivas,

Andaluca, a tus mares.
Ay, amor,
Que se fue por el aire!

It carries orange blossom, it carries olives,

Andalusia, to your seas.
Ow, love,
that vanished into thin air!

10

La guitarra
Empieza el llanto
de la guitarra.
Se rompen las copas
de la madrugada.
Empieza el llanto
de la guitarra.
Es intil
callarla.
Es imposible
callarla.
Llora montona
como llora el agua,
como llora el viento
sobre la nevada.
Es imposible
callarla.
Llora por cosas
lejanas.
Arena del Sur caliente
que pide camelias blancas.
Llora flecha sin blanco,
la tarde sin maana,
y el primer pjaro muerto
sobre la rama
Oh guitarra!
Corazn malherido
por cinco espadas.

The Guitar
The weeping of the guitar
begins.
The glassy dawn
shatters.
The weeping of the guitar
begins.
Useless
to silence it.
Impossible
to silence it.
It weeps monotonously
like waters weep,
like wind weeping
over snowfall.
It is impossible
to silence.
It cries for distant
things.
Hot Southern sands
yearning for white camellias.
It weeps, arrow with no target,
afternoon with no morning,
and first dead bird
on the branch.
Oh, guitar!
Heart stabbed
by five swords.

Pual
El pual
entra en el corazn,
como la reja del arado
en el yermo.
No.
No me lo claves.
No.

Dagger
The dagger
pierces the heart,
like a ploughshare
into wasteland.
No.
Dont stab me.
No.

11

El pual,
como un rayo de sol,
incendia las terribles
hondonadas.
No.
No me lo claves.
No.

The dagger,
like a ray of sun,
sets the terrible
hollows alight.
No.
Dont stab me.
No.

Procesin
1. Procesin
Por la calle vienen
extraos unicornios.
De qu campo,
de qu bosque mitolgico?
Ms cerca,
ya parecen astrnomos.
Fantsticos Merlines
y el Ecce Homo,
Durandarte encantado,
Orlando furioso.

Procession
Procession
Down the street
strange unicorns come.
From what field,
what mythical forest?
Closer,
they resemble astronomers.
Fantastic Merlins
and the Ecce Homo,
Enchanted Durandarte,
The Frenzy of Orlando.

2. Paso
Virgen con miriaque,
virgen de la Soledad,
abierta como un inmenso
tulipn.
En tu barco de luces
vas
por la alta marea
de la ciudad,
entre saetas turbias
y estrellas de cristal.
Virgen con miriaque
t vas
por el ro de la calle,
!hasta el mar!

2. Processional Float
Virgin with crinoline,
Virgin of Solitude,
open like an immense
tulip.
In your ship of lights
you sail
the high tide
of the city,
between turbid hymns
and glass stars.
Virgin with crinoline
you sail
the river of the street
to the sea!

12

3. Saeta
Cristo moreno
pasa
de lirio de Judea
a clavel de Espaa.
Miradlo, por dnde viene!

3. Devotional Song
The dark-skinned Christ
passes
from Judeas iris
to the carnation of Spain.
Look at him, how he comes!

De Espaa.
Cielo limpio y oscuro,
tierra tostada,
y cauces donde corre
muy lenta el agua.
Cristo moreno,
con las guedejas quemadas,
los pmulos salientes
y las pupilas blancas.
Miradlo, por dnde va!

From Spain.
Clean and dark sky,
parched soil,
and river beds where water
flows very slowly.
Dark-skinned Christ,
with burnt mane,
prominent cheekbones
and white pupils.
Look at him, how he goes!

Memento
Cuando yo me muera
enterradme con mi guitarra
bajo la arena.
Cuando yo me muera,
entre los naranjos
y la hierbabuena.
Cuando yo me muera,
enterradme si queris
en una veleta.
Cuando yo me muera!

Eulogy
When I die
bury me with my guitar
under the sand.
When I die,
amongst the orange trees
and the mint.
When I die,
bury me, if you want,
in a weathervane.
When I die!

Baile
La Carmen est bailando
por las calles de Sevilla.
Tiene blancos los cabellos
y brillantes las pupilas.
Nias,
corred las cortinas!

Dance
Carmen is dancing
down the streets of Seville.
Her hair is white
and her pupils are shining.
Girls,
draw the curtains!

13

En su cabeza se enrosca
una serpiente amarilla,
y va soando en el baile
con galanes de otros das.
Nias,
corred las cortinas!

In her head coils

a yellow serpent,
and she dreams while dancing
about courtiers from days gone by.
Girls,
draw the curtains!

Las calles estn desiertas

y en los fondos se adivinan
corazones andaluces
buscando viejas espinas.
Nias,
corred las cortinas!

The streets are deserted,

and in the shadows one glimpses
Andalusian hearts
seeking old thorns.
Girls,
draw the curtains!

Crtalo
Crtalo.
Crtalo.
Crtalo.
Escarabajo sonoro.

Castanet
Castanet.
Castanet.
Castanet.
Clattering beetle.

En la araa
de la mano
rizas el aire
clido,
y te ahogas en tu trino
de palo.

In the spider
of the hand
you curl the
warm air,
and suffocate in your
wooden trill.

Crtalo.
Crtalo.
Crtalo.
Escarabajo sonoro.

Castanet.
Castanet.
Castanet.
Clattering beetle.

Translation: Miguel A. Iglesias and Pedro Tellera

14

Concertino for guitar

and orchestra

months after the announcement of the prize,

he was finally able to make his debut as a
composer in Madrid with the premiere of his
Tres piezas (Three Pieces) for quintet (Op. 3a),
completed earlier that year.

Salvador Bacarisse Chinoria was born in Madrid on

12 September 1898 and died in Paris on 5 August
1963. Composer, music critic and conductor,
he belonged to the so-called Generation of the
Republic, and was one of the most prolific
members of the Group of Eight of Madrid.

From 1926 until the stations closure in 1936,

Bacarisse worked as Artistic Director of Unin
Radio, one of the most influential aspects of
Spanish cultural and social life during this period.
This brought him into contact with a plethora of
composers and performers and gave him the
financial stability and stimulation necessary to
allow him to pursue his career in composition.

Bacarisses middle-class origins he was the

son of a French merchant established in Madrid
allowed him to pursue a tertiary education.
Abiding by his fathers wishes, he studied law as
well as philosophy and letters at the University
of Madrid, before deciding to major in piano at
the Madrid Conservatorium with Manuel
Fernndez Alberti. He also studied harmony and
composition with Conrado del Campo, alongside
his friends Julin Bautista and Fernando
Remacha, two other members of the Group.

Bacarisses involvement in Republican activities

and the organisation of Spanish music life, as
treasurer of the Junta Nacional de la Msica y
Teatros Lricos (National Music and Opera
Theatres Board, founded in 1931) and as deputy
chair of the Consejo Central de Msica (Central
Music Council) during the Civil War, forced him
into exile in February 1939. While many of his
colleagues elected America as their safe haven,
Bacarisse settled in Paris, where he continued
composing and conducting and even participated
in the founding of the periodical Unidad y Lucha,
the organ of the Spanish resistance in Paris. In
1945 he was hired to program the Spanish
section of the French national radio and
television broadcaster RTF, a post he held until
his death. In the French capital, his home
became a special meeting point for many

In March 1923 his symphonic poem La nave de

Ulises (Ulysses Ship, 1919) for choir and
orchestra, strongly influenced by the third of
Debussys Nocturnes, Sirnes, won the National
Music Competition, though the musicians of the
Orquesta Filarmnica who were due to perform
it later that year refused to do so after the first
rehearsal, labelling it as too progressive. This
led to a crisis that prevented Bacarisse from
composing for several years, although a few
15

Spanish artists and performers including the

harpist Nicanor Zabaleta, the pianist Leopoldo
Querol and the guitarist Narciso Yepes, for
whom he composed the Concertino in A minor
in 1952.

Although there has been much confusion

surrounding the works date of composition,
according to the German musicologist and
Bacarisse expert Christiane Heine, it was
completed on 12 April 1952 and dedicated to
Yepes, who premiered it with the French
National Orchestra conducted by Ataulfo Argenta
on 15 October 1953 at the Thtre des Champslyses in Paris. The concert, which also
featured works by Geminiani, Hindemith and
Richard Strauss, was rebroadcast by RTF on
22 October and widely praised by French music
critics, who highlighted its spontaneity and
charm. The Spanish premiere of the work took
place at the Teatro Principal in Palma de Majorca
on 23 March 1955. Once again, the guitar soloist
was Narciso Yepes, with Pich Santasusana
conducting the Orquesta Sinfnica.

At the time, Yepes had just given his debut

recital in Paris at the Salle Gaveau and was at
the height of his success after his European tour
with Rodrigos Concierto de Aranjuez. In a recent
interview with his widow Marysia
Szumlakowska, published in Roseta, the journal
of the Spanish Guitar Society (issue number 2,
2009), she recalled accompanying the guitarist
to Bacarisses home on many occasions during
the early 1950s, where the composer was trying
out his latest works, seated at the piano. In
response to his inquiries as to whether or not
they could be played on the guitar, Narciso
replied: You compose what comes from your
soul, and Ill play it. And although, ironically, in
an interview by RTF for the program A propsito
de Salvador Bacarisse (About Salvador
Bacarisse) broadcast after the composers death,
Yepes alleged that Bacarisse hated the guitar,
such were the circumstances surrounding the
creation of the Concertino, arguably his most
popular work today.

The main theme of the first movement, Intrada,

is marked by its clarity and reverential tone, a
galant style recalling Gabrielis fanfares and
trumpets and the slow dance movements of the
18th century. Heine has identified this theme in
many of Bacarisses works written in exile. Its
origin dates back to the first and third of the Tres
movimientos concertantes (Three Concertante
Movements), Op. 18 for orchestra and solo
violin, viola and cello (1934), and it subsequently
reappears (in a modified form) in the Third Piano
Concerto, Op. 74 (1952); the Ballade in D minor
for guitar, Op. 82 (1953), and the Fourth Piano

Inspired by Joaqun Rodrigos famous Concierto

de Aranjuez, the Concertino is one of Bacarisses
most exceptional works, especially its emotive
second movement, the lyrical Romanza.
16

Concerto, Op. 88 (1953), among others, all

dating from the same period.
The exquisite first-movement cadenza seems to
have been an afterthought, as the autograph
score, which is conserved, together with other
works and documents relating to the composer,
at the Biblioteca de Msica Espaola
Contempornea of the Fundacin Juan March in
Madrid, only contains the cadenza found in the
fourth movement. Separate cadenzas for both
the first and fourth movements can also be
found in another source held at this Spanish
music library. The movement ends with a theme
some critics have likened to a motif from
Smetanas symphonic poem The Moldau.
A stronger, more Spanish flavour marks the
famous Romanza, which opens with the
suggestive and melancholic melody in the guitar
over pianissimo sustained notes in the strings,
while the short, lightly scored Scherzo is based
on a repetitive, amalgamated rhythm in 2/8 and
3/8. The final movement, a classic Rondo, begins
with a statement of the main theme in the
guitar, immediately repeated by the whole
orchestra and systematically elaborated and
ornamented until the cadenza and the three final
tutti chords, bringing the work to a satisfying and
brilliant conclusion.
Yolanda Acker

17

Peter Sculthorpes Nourlangie for guitar and

orchestra, both with the Tasmanian Symphony
Orchestra. Collaborative ensemble releases
include three albums with Saffire The Australia
Guitar Quartet (including the ARIA Awardwinning album Saffire) and a duo album with
recorder virtuoso Genevieve Lacey.

Karin Schaupp
Karin Schaupp performs widely on the
international stage as a recitalist, concerto
soloist and festival guest, and has given
countless recitals in Australia, Europe, Asia,
North America and Mexico. Her playing receives
the highest acclaim from critics and audiences
alike and her unique stage presence and
magical, passionate playing have inspired several
composers to write works especially for her.

Karin Schaupp has appeared live on television in

many parts of the world in Australia, Canada,
China (to some 20 million viewers) and
Germany. In 2001 she joined a prestigious
line-up of international artists in the televised
opening gala of the Goodwill Games.

Karin Schaupps guitar training began at the age

of five and she first performed in public the
following year. While still in her teens she won
prizes at international competitions in
Lagonegro, Italy and Madrid, Spain, where she
was also awarded the special competition prize
for the Best Interpretation of Spanish Music.

Following training at the National Institute of

Dramatic Art (NIDA), The Australian Acting
Academy and, most extensively, private tuition
with Martin Challis, Karin Schaupp has extended
her performance activities to the theatrical
stage. She has starred in some 150
performances of Lottes Gift, a play written
especially for her by David Williamson,
Australias best-known and most prolific
playwright. The play, a unique fusion of drama
and music, was recently invited for a month-long
season in the historic Assembly Rooms as part
of the Edinburgh Fringe Festival.

Taught almost exclusively by her guitarist

mother, Isolde Schaupp, she completed her
tertiary music studies at The University of
Queensland with first class honours and a
Masters degree, and was the recipient of a
University Medal. In 2003 she was awarded the
Music Council of Australia Freedman Fellowship
in recognition of her achievements.

Other recent performance highlights include a

concerto with the London Philharmonic Orchestra
in Londons Royal Festival Hall, and performances
at the Aichi World Expo (Japan), Hong Kong Arts
Festival and the APEC Summit in Sydney.

Karin Schaupp has released five solo albums:

Soliloquy, Leyenda, Evocation, Dreams and
Lottes Gift. Orchestral releases include the
award-winning world premiere recording of Ross
Edwards Concerto for Guitar and Strings and
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www.karinschaupp.com
19

New, Symphony at the Movies, Play! A Video

Symphony, Ravels Daphnis and Chloe,
Rachmaninoffs The Bells, Brahms German
Requiem, Vaughan Williams Sinfonia Antartica
and the Australian premiere of Gelmettis
Cantata della Vita and numerous recording
projects, including Mozarts Requiem and an
album of pop and jazz covers for ABC Classics,
film scores for The December Boys and
Daybreakers, and recording and filming Jonathan
Mills opera The Eternity Man. Cantillation has
appeared as the chorus in all of Pinchgut Operas
productions to date.

Cantillation
Cantillation is a chorus of professional singers
an ensemble of fine voices with the speed,
agility and flexibility of a chamber orchestra.
Formed in 2001 by Music Director Antony
Walker and Manager Alison Johnston, it has
since been busy in the concert hall, opera
theatre and the recording studio.
Performances have included John Adams
Harmonium and On the Transmigration of Souls,
Ross Edwards Symphony No. 4 Star Chant,
Haydns Nelson Mass and Jonathan Mills
Sandakan Threnody (all with the Sydney
Symphony), concerts with Andrea Bocelli,
touring to regional centres around NSW (part
of Musica Vivas CountryWide program), and
performances with Emma Kirkby in Sydney and
Melbourne, also for Musica Viva.

Sopranos Belinda Montgomery, Alison Morgan*,

Anna Sandstrom, Elizabeth Scott
Altos Jo Burton*, Anne Farrell, Natalie Shea
Tenors Andrei Laptev*, Eric Peterson,
Dan Walker, Raff Wilson
Basses Corin Bone, Craig Everingham*,
David Greco*
*soloist

Recordings for ABC Classics include great choral

masterpieces of the Renaissance, a collection of
contemplative 20th-century sacred works
entitled Prayer for Peace, Faurs Requiem,
Orffs Carmina burana, Handels Messiah, a
Christmas disc, Silent Night, a CD of folk songs
entitled Ye Banks and Braes, Magnificat with
Emma Kirkby and an album of Baroque
choruses, Hallelujah!

Philip Chu
Born in Hong Kong, Philip Chu has completed a
Masters degree in conducting with Imre Pallo at
the Sydney Conservatorium of Music. In 2006
he was selected as one of eight conductors
from around the world to participate in Jorma
Panulas conducting masterclass in St
Petersburg. His appointments have included
Assistant Chorusmaster of Sydney Philharmonia

Recent engagements have included concerts

with the Sydney Symphony The Shock of the
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Sculthorpe and Richard Meale to Elena KatsChernin and Brett Dean.

Choirs, Chorusmaster of the Willoughby

Symphony Orchestra and Choir, and Musical
Director of the Eminence Symphony Orchestra.
He has also appeared as guest conductor with
Cantillation, the Australian Brandenburg
Orchestra, Sydney Chamber Choir and the
Sydney Youth Orchestra, and made his debut
with the Tokyo Philharmonic Orchestra in 2009.
His recordings include Exaltate Dominum and
RiverSymphony, both on ABC Classics, and
Echoes of War with Blizzard Entertainment.

The TSO, which is resident in Hobarts purposebuilt Federation Concert Hall, has a full
complement of 47 musicians. German-born
Sebastian Lang-Lessing has been the orchestras
Chief Conductor and Artistic Director since
2004. Declared a Tasmanian Icon in 1998, the
TSO enjoys a high level of support among the
Tasmanian community. Concert seasons are
presented in Hobart and Launceston, and regular
tours are made of Tasmanian regional centres.
Since 2005, the TSO has presented an annual
Sydney Season at City Recital Hall Angel Place.
International touring has taken the orchestra to
North and South America, Greece, Israel, South
Korea, China, Indonesia and Japan.

Tasmanian Symphony
Orchestra
A leader in music of the Classical and early
Romantic periods, the Tasmanian Symphony
Orchestra (TSO) enjoys a high profile nationally
and internationally through its world-wide
broadcasts and award-winning recordings.
Winner of back-to-back Best Classical
Recording limelight Awards in 2007 and 2008,
the TSO is the only Australian orchestra to have
released recordings of the complete symphonies
of Beethoven and Schumann.

The TSO celebrated its 60th anniversary in 2008.

Major international soloists who have appeared
with the orchestra include Daniel Barenboim,
Alfred Brendel, James Ehnes, Lisa Gasteen,
Hkan Hardenberger, Nigel Kennedy, Radu
Lupu, Igor Oistrakh, Valery Oistrakh, Heinrich
Schiff, Howard Shelley, Isaac Stern, Paul
Tortelier and Jian Wang. A versatile orchestra,
the TSO has also appeared with a range of
popular and jazz artists including Kate
Ceberano, Roberta Flack, James Morrison,
Anthony Warlow and The Whitlams.

The TSO also champions music by Australian

composers, and the Australian Music Program,
founded in 2003, is one of the TSOs key
initiatives. To date, the TSO has released 18 CDs
on the ABC Classics label featuring works by
Australian composers ranging from Peter
21

Benjamin Northey

Symphony Orchestra. He made his European

debut in 2005 with the Mozarteum Orchestra
Salzburg; in 2006 he conducted the Futurum
Ensemble Sinfonietta in a concert of music by
Salvatore Sciarrino for the Stockholm New
Music Festival and toured Sweden with the
Sdra Hlsinglands Orchestral Society. He has
assisted Leif Segerstam in Latvia with the
Leipaja Symphony Orchestra and in Austria with
the Graz Symphony Orchestra.

Award-winning conductor Benjamin Northey is in

constant demand as a guest conductor of the
Australian state symphony orchestras and is
currently Principal Conductor of the Melbourne
Chamber Orchestra. In addition to his extensive
symphonic repertoire, Benjamin Northeys
professional experience spans opera, ballet and
contemporary music.

In 2007 Benjamin Northey was awarded the

limelight magazine award for best newcomer in
any field of classical music; in 2008 he won
limelights Best Classical Recording award for
the album Baroque Guitar Concertos with Slava
and Leonard Grigoryan and the Tasmanian
Symphony Orchestra, released on ABC Classics.
His latest album, Just Classics II The Gold
Collection, with the West Australian Symphony
Orchestra, was released early in 2009.

Winner of the 2001 Symphony Australia Young

Conductor of the Year competition, Benjamin
Northey studied under John Hopkins at the
University of Melbourne and then with Leif
Segerstam at the Sibelius Academy and with
Jorma Panula at the Stockholm Royal Academy
of Music. He was selected from an international
field to participate in the prestigious International
Conductors Academy of the Allianz Cultural
Foundation for the 2007/08 season. This elite
program involved a year-long mentorship with
the London Philharmonic Orchestra and the
Philharmonia Orchestra and conductors
Christoph von Dohnnyi and Vladimir Jurowsky,
culminating in a critically acclaimed performance
of Stravinskys Symphony in C in June 2008 at
Londons Royal Festival Hall.

Executive Producers Martin Buzacott, Lyle Chan,

Robert Patterson
Recording Producers Brooke Green 1-3, Virginia
Read 4-0, Stephen Snelleman and
Andr Shrimski !-$
Recording Engineers Veronika Vincze 1-3, !-$,
Virginia Read 4-0
Editing Brooke Green and Veronika Vincze 1-3,
Virginia Read and Andr Shrimski 4-0, Andr
Shrimski and Veronika Vincze !-$
Mastering Virginia Read
Editorial and Production Manager Hilary Shrubb
Publications Editor Natalie Shea
Booklet Design Imagecorp Pty Ltd
Photography George Favios
Make-up Abigael Johnston
Language Coaching Miguel Iglesias

My deepest gratitude to Ben Northey, the Tasmanian

Symphony Orchestra, Philip Chu and Cantillation.
It was a joy and a privilege to work with all of you.
Sincerest thanks also to Stephen Snelleman,
Brooke Green, Virginia Read, Veronika Vincze,
Andr Shrimski, Dave Neil, Simon Rogers, Alison
Johnston, Wendy Avilov, Alexa, Giac Giacomantonio
and Isolde Schaupp.
This CD is dedicated with love and gratitude to
Isolde Schaupp.
Karin Schaupp
Recorded 28-29 November 2006 (Rodrigo) and
30-31 January 2009 (Bacarisse) in the Federation
Concert Hall, Hobart, and 3-5 November 2007
(Castelnuovo-Tedesco) in the Eugene Goossens Hall
of the Australian Broadcasting Corporations Ultimo
Centre, Sydney.

Karin Schaupp dressed by www.sachadrake.com

Rodrigos Concierto de Aranjuez is published by

Schott, Mainz.

For the Tasmanian Symphony Orchestra

Managing Director Nicholas Heyward
Manager, Artistic Planning Simon Rogers
Australian Music Program Director Lyndon Terracini
Concertmaster Jun Yi Ma

Castelnuovo-Tedescos Romancero gitano is

published by Edition Bote & Bock.
Bacarisses Concertino Opera Tres Ediciones
Musicales S.L. of Madrid. All rights reserved.

For Cantillation
Music Director Antony Walker
Manager Alison Johnston

ABC Classics thanks Alexandra Alewood and

Katherine Kemp.
2009 Australian Broadcasting Corporation. 2009 Australian
Broadcasting Corporation. Distributed in Australia and New
Zealand by Universal Music Group, under exclusive licence.
Made in Australia. All rights of the owner of copyright reserved.
Any copying, renting, lending, diffusion, public performance or
broadcast of this record without the authority of the copyright
owner is prohibited.

Benjamin Northey has participated in

international conducting mastercourses with the
Finnish Radio Symphony Orchestra, the Moscow
Symphony Orchestra and in Israel with the Haifa
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