Audiences love it. I love it. But Rodrigo’s Concierto de Aranjuez is the only guitar concerto that ever gets programmed – surely classical guitarists must be sick of the thing by now?
Australian guitarist Karin Schaupp, who performs Rodrigo in two matinee concerts with Dunedin Symphony Orchestra this month, says not. “It still feels fresh,” she says. “The second movement is always beautiful, and every orchestra and conductor and cor anglais soloist plays it differently, so there’s always something in it.”
Doesn’t she pine for something different, though? Castelnuovo-Tedesco? Or compatriot Ross Edwards’ vital, tuneful Arafura Dances concerto?
“Admittedly, most of my concerto performances are Rodrigo,” Schaupp reasons. “The thing is, most of my performances are not concertos.”
Nor, these days, are most of Schaupp’s performances solo recitals. The job “classical guitarist” used to be a solitary occupation. Schaupp has consciously chosen to do more with other people.
“I got to a point where I was sick of travelling on my own and also being on stage on my own,” she says. “The solo classical guitar recital was something I explored and loved, but I felt I had more to say artistically. As soon as you bounce off anyone else, whether they’re a guitarist, a cellist or not even a musician, it’s inspiring.”
Schaupp hasn’t entirely forsaken solitude, though. For the past year, she has been posting a new piece of music each month. Schaupp records the tracks herself, either at home or in a studio at the Queensland Conservatorium, where she teaches.
The first 14 pieces have been bundled together as Peaceful Australian Guitar Solos. Additionally, she has a pair of alter egos: Erinn Mac, which she uses for Celtic-style music played on a steel-string guitar; and Little Angel’s Guitar, a lullaby channel that builds on her most successful album, Cradle Songs.
“We don’t make recordings to make money any more,” Schaupp says, with a wry laugh. “But that doesn’t mean it’s not important to record.
“For that reason, I’m recording things I genuinely love and I’m asking composers whose music I love to write me pieces. It’s a labour of love and something I’m proud of, and I’m proud of creating a new and accessible Australian repertoire that others can play.”
It must be liberating to play these new works she has not already performed 10, 100 or 1000 times.
“For me, there’s not a big difference playing music I’ve played before and music I haven’t played,” Schaupp says.
“I always try to make it my own and I always try to find something in that moment and on that day and in that room.”
Dunedin Symphony Orchestra, Other Lands, King’s and Queen’s Performing Arts Centre, September 21 & 22.
