MUSIC BY BOCCHERINI, HAYDN, PUJOL AND HOUGHTON

KARIN SCHAUPP FLINDERS QUARTET

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MÁXIMO DIEGO PUJOL b. 1957

Tangata de Agosto [16’17]

1 I. Allegro 6’40

2 II. Andante 5’13

3 III. Allegro ritmico 4’24

LUIGI BOCCHERINI 1743-1805

Guitar Quintet No. 4 in D major ‘Fandango’ [24’18]

4 I. Allegro maestoso 7’16

5 II. Pastorale 5’22

6 III. Grave assai – 1’35

7 Fandango 5’37

Chari Saldaña castanets

JOSEPH HAYDN 1732-1809

Quartet in D major for concertante guitar, violin, viola and cello [18’07]

Arranged from String Quartet No. 8 in E major, Op. 2 No. 2, Hob.III:8

8 I. Allegro 4’28

9 II. Menuetto –Trio 3’27

0 III. Adagio 8’17

! IV. Menuetto –Trio 2’49

@ V. Presto 3’34

PHILLIP HOUGHTON b. 1954

In Amber [16’39]

£ I. Dance 7’40

$ II. Dream 6’22

% III. Initiation 2’37

Total Playing Time 75’21

Karin Schaupp guitar

Flinders QuartetErica Kennedy violin • Matthew Tomkins violin • Helen Ireland viola • Zoë Knighton cello

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PUJOL Tangata de Agosto

Thanks to his much-loved and prolific contribution to the guitar’s contemporary repertoire, MáximoDiego Pujol is today considered to be one of South America’s leading guitarist/composers. A graduateof the Juan José Castro Provincial Conservatory, he studied with many Argentinian guitarists and alsowith composer Leónidas Arnedo. His guitar compositions have won awards at competitions inColombia, France and at the International Guitar Festival in Martinique, and in 1989 he received theArgentine Composers’ Union award for Best Composer of Classical Music. Since 1995, he has beenProfessor of Guitar at the Manuel de Falla Conservatorium in Buenos Aires.

Even if his name is unfamiliar outside guitar circles, his compositional style will immediately resonate.Pujol is strongly influenced by the great Argentine musician Astor Piazzolla, and like Piazzolla, he usesthe tango as a basic style for much of his composition.

The word ‘tangata’ is Pujol’s own creation, a portmanteau of ‘tango’ and ‘sonata’, and his Tangata deAgosto or ‘August Tangata’ combines classical and popular Argentinian musical styles. Its threemovements show different aspects of the tango: by turns full of fire, languid, sultry and energetic.

3BOCCHERINI Guitar Quintet No. 4 in D major ‘Fandango’

Following in the footsteps of Domenico Scarlatti, the virtuoso Italian cellist and composer LuigiBoccherini moved to Spain as a young man. Spain’s cultural status in Europe was at a low ebb; 18th-century Spanish musicians were typically sent to other countries to study, and foreign composerswere welcomed with open arms. Boccherini arrived in Madrid in 1768 and two years later was in theemploy of Don Luis, King Carlos’s younger brother.

Boccherini wrote some 250 quintets, most for violin, viola and two cellos, with one cello often having a concerto-like part reaching into the high registers. However, he also loved the guitar, and wroteconcertante guitar parts into some of his symphonic works. He is best known to guitarists today for hisnumerous Guitar Quintets, and of these, No. 4 in D major, often nicknamed the ‘Fandango’ after its finalmovement, is undoubtedly the most loved. Indeed, it is today one of the most frequently played piecesof chamber music featuring an original guitar part.

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Finished in 1798, the work borrows all its movements from two of the composer’s previous quintets.The quintet opens with a charming Allegro maestoso featuring the grand, distinctive Boccherini cellosound. This is followed by a Pastorale of unmistakable purity, moving only between piano andpianissimo. Following a slow Grave introduction, the work throws itself with abandon into the spiritedFandango, drawing freely on the rich guitar culture of Spain and leaving behind the more ‘serious’ styleof Boccherini’s own cultural heritage.

3HAYDN Quartet in D major for concertante guitar, violin, viola and cello

Haydn wrote nearly 70 string quartets; he may not have actually invented the combination of twoviolins, viola and cello, but he certainly established it as a vibrant musical medium which provedinspirational for Beethoven, Mozart, Schubert, Dvořák, Shostakovich and scores of other composers,right to the present day. He also wrote a quantity of chamber music for other instruments – variouscombinations of strings, clarinets, horns, oboes, flutes, keyboard and (his employer’s special favourite)the baryton – but the guitar seems not to have been of great interest to him: he wrote nothing directlyfor the instrument himself, and the handful of guitar arrangements once attributed to him are nowgenerally believed to be the work of anonymous others.

This quartet is a case in point. It is an arrangement of his E major String Quartet Op. 2 No. 2 (Hob.III:8),discovered in the 1920s by Hans Dagobert Bruger, who found it in a collection of chamber music bylargely forgotten 18th-century composers. The instrument specified in that anonymous manuscript wasthe lute, but it is here performed on guitar, in an edition by Karl Scheit, (Doblinger, Vienna).

The heart of the quartet, both literally and emotionally, is the Adagio slow movement. As throughoutthe work, the guitar takes the role of a true soloist – it is even given two brief ‘cadenzas’ – singing itsrichly lyrical melody in dialogue with the accompanying strings. The Adagio is surrounded by twominuets: the first is elegantly poised, but with a slightly cheeky grace-note figure in the guitar part; the second has a more rustic feel. Framing the whole are a light and bright first movement, and a briskfinale brimming with Haydn’s trademark wit and humour.

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HOUGHTON In Amber

Phillip Houghton is widely regarded as one of Australia’s leading composers for the guitar, and his worksare today performed and recorded by leading soloists and ensembles around the world. The wonderfullyevocative In Amber is an early composition, the original version having been written in 1982. It isperformed here in a revised version completed in 2008.

The composer writes:

‘The working title of this work was A Fossil in Amber, in which I drew parallels between a fossil“frozen/suspended” in amberstone and the sound frozen/suspended inside the stringed instrumentswaiting to be brought to life. A beautiful amber “tree of life” pendant made and given to me by masterjeweller Tim Benson ignited the musical ideas, and the fact that the physical colour of the instruments issimilar to amber further played on my imagination.

‘The first movement, Dance, is made up of a series of tableaux, with connected motifs and rhythmsswitching constantly between various keys and simple/triple time. I also had an image of rocks andpebbles on the bed of a river, sparkling through layers of rippling texture and light. The secondmovement, Dream, is notation of actual music that I heard in a dream. It was written quickly so as to“record” the dream before it vanished. In this sense, the music is much like “sonic memory” (or“dreamscape”) in which drones and melodies entwine and flow organically – like perfumes in a jungle.The last movement, Initiation, originally part of my 1981 work Suite of Six Trios, is a short and drivingostinato which I’ve adopted and included into this revision.’

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Karin Schaupp

Karin Schaupp is one of the most outstandingguitarists on the international scene. Herperformances receive the highest acclaim fromcritics and audiences alike and she is held in greatesteem by her peers worldwide. Karin’s uniquestage presence and magical, passionate playinghave inspired several composers to write worksespecially for her.

While in her teens, Karin was the recipient ofprestigious international competition prizes; todayshe tours regularly throughout Australia, Europe,Asia and North America performing as a recitalist,soloist and festival guest, and making countlesstelevision and radio appearances.

Taught almost exclusively by her guitarist–mother,Isolde Schaupp, Karin completed her tertiary musicstudies at The University of Queensland with FirstClass Honours, a Masters degree and a UniversityGold Medal. In 2003 she was awarded the MusicCouncil of Australia Freedman Fellowship inrecognition of her achievements.

Karin Schaupp has released six solo albums:Soliloquy, Leyenda, Evocation, Dreams, Lotte’s Giftand Cradle Songs. Orchestral releases include theaward-winning world premiere recording of RossEdwards’ Concerto for Guitar and Strings and PeterSculthorpe’s Nourlangie for guitar and orchestra,both with the Tasmanian Symphony Orchestra; the

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album Spain: The Great Guitar Concertos, released in 2009, features music of Rodrigo, Bacarisse andCastelnuovo-Tedesco.

By combining the lapidary precision of Williams with the expressiveness of Bream, Schaupp here bringsus an Aranjuez fit to stand alongside the best of them… – Gramophone magazine (UK)

Karin has also released three albums as a member of Saffire – The Australian Guitar Quartet, includingthe ARIA Award-winning Saffire. Other collaborations include the World Guitar Trio, with Carlos Barbosa-Lima and Christopher McGuire; her duo with recorder virtuoso, Genevieve Lacey; concerts with theAdelaide Chamber Singers and Sydney Chamber Choir; and a new project with Katie Noonan.

Karin Schaupp has appeared live on television in many parts of the world, including Australia, Canadaand Germany. In 1997 she performed live to 20 million viewers and listeners in China, on the occasionof China Radio International’s 50th Anniversary celebrations; in 2001 she joined a prestigious line-up ofinternational artists in the televised opening gala of the Goodwill Games.

Refreshingly different from many other guitarists in her wide range of colour and voluptuously free-flowing expression on the instrument, her skills were dazzling... – The Australian

Following training at the National Institute of Dramatic Art (NIDA), The Australian Acting Academy, andmost extensively, private tuition with Martin Challis, Karin has extended her performance activities tothe theatrical stage. Combining her love of music and passion for acting, Karin has starred in some 150performances of Lotte’s Gift, a play written especially for her by noted Australian playwright DavidWilliamson. The work tours regularly in Australia, and enjoyed its international premiere with a four-weekseason at the Edinburgh Festival Fringe in 2009.

Other performance highlights have included concertos with the London Philharmonic Orchestra (UK),the Springfield Symphony Orchestra (USA), the Queensland and Tasmanian Symphony Orchestras, and appearances at the Aichi World Expo in Japan, the Hong Kong Arts Festival, and the APEC Summitin Sydney.

www.karinschaupp.com

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Flinders QuartetErica Kennedy violinMatthew Tomkins violinHelen Ireland violaZoë Knighton cello

Flinders Quartet…whose players give such care and unanimity of musical thought to Australian chamber music. – Peter McCallum, Sydney Morning Herald

Flinders Quartet has captured the imagination of audiences for over ten years and continues to carryaudiences away with them into the sublime world of chamber music. A quartet for the 21st century,Flinders enters its second decade with acknowledged musical skill and maturity. Its dynamic and stirringperformances of a full spectrum of repertoire have audiences and critics articulating their esteem, andthe Quartet is now a highly respected force in Australian chamber music.

Since its formation, Flinders has regularly commissioned and premiered works by Australiancomposers. In 2010, for its tenth birthday celebrations, the Quartet commissioned and premiered newworks by Peter Sculthorpe, Richard Mills and Calvin Bowman. Other composers who have written forFlinders include Ian Munro, Elena Kats-Chernin, Ross Edwards, Stuart Greenbaum and Katy Abbott.

Flinders Quartet have a growing reputation as courageous and sensitive interpreters of Australianchamber music. – Harriet Cunningham, Sydney Morning Herald

Flinders initiated its own annual subscription series in 2002, and now presents concerts in bothMelbourne and Sydney. The Quartet is also regularly invited to perform and tour for other chambermusic presenters, such as Musica Viva, and is in demand at festivals throughout Australia, oftenappearing in association with such artists as Slava Grigoryan, David Thomas, Kristian Chong, Ian Munro,Paul Dean, Karin Schaupp and Genevieve Lacey.

Building on its 2006 Limelight Award and on a 2007 Melbourne Prize for Music nomination, Flinders, incollaboration with new music ensemble Halcyon, was nominated for a 2007 ARIA Award for itsperformance of Gillian Whitehead’s Bright Forms Return. In 2010, Flinders Quartet was againnominated for the Melbourne Prize for Music.

The Quartet was radio station 3MBS FM’s inaugural selection as Artist in Residence, a position it helduntil 2006. Flinders continues to receive regular airplay on that station, as well as on ABC Classic FM,Sydney’s 2MBS FM, and various other Australian stations. The Quartet released its debut CD,reinventions with Genevieve Lacey, in 2008.

…the essential Flinders qualities of full-blooded enthusiasm, a fine ear for lyrical content and anunfailing unanimity of intent. – Clive O’Connell, The Age

The members of Flinders Quartet have a steadfast commitment to the development of Australianchamber music, musicians and audiences. As teachers and mentors, they work regularly with theAustralian Youth Orchestra and Melbourne Youth Orchestra on developmental programs for youngchamber groups. Flinders also works closely with the Victorian Amateur Chamber Music Society, and isregularly invited to tutor at music camps, and at secondary and tertiary institutions, including theUniversity of Melbourne.

www.flindersquartet.com

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Executive Producers Martin Buzacott, Robert Patterson

Recording Producer Stephen Snelleman

Recording Engineer and Mastering Jim Atkins

Editing Max Atkins

Editorial and Production Manager Hilary Shrubb

Publications Editor Natalie Shea

Booklet Design Imagecorp Pty Ltd

Photography Monty Coles

Makeup Mary Peda

Karin Schaupp and Flinders Quartet gratefully acknowledge the support of Dame Elisabeth

Murdoch, Richard Gubbins and the Robert Salzer Foundation. Without their generosity,

this project would not have been possible.

Special thanks to Wendy Avilov, Flinders Quartet Sounding Board, Australia Business Arts Foundation,

Melbourne Symphony Orchestra, Jim Atkins, Stephen Snelleman, Melbourne Recital Centre, Isolde Schaupp

and Giac Giacomantonio.

Karin Schaupp recorded this album on a Jim Redgate guitar.

Front cover, p7: Zoë, Karin, Helen and Erica dressed by Sacha Drake.

Recorded 6-10 December 2010 in the Melbourne Recital Centre Salon.

ABC Classics thanks Laura Bell, Jonathan Villanueva and Virginia Read.

www.abcclassics.com

� 2011 Karin Schaupp & Flinders Quartet. � 2011 Australian Broadcasting Corporation. Distributed in Australia and New Zealand byUniversal 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.

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