Lotte's Gift
By David Williamson
Photography: © Craig Ratcliffe
www.lottesgift.com
LOTTE'S GIFT SOUNDTRACK
LOTTE'S GIFT is the soundtrack to the theatrical play of the same name, written by David Williamson and performed by Karin Schaupp. The CD features all the music from the play, with selected tracks from Karin's existing discography, as well as some new pieces recorded especially for this CD, including the much loved Adagio from Rodrigo's Concierto de Aranjuez .
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1.* Waltz, Op. 39 No. 15
(JOHANNES BRAHMS, arr. S.G.Giacomantonio)
2. Vals (Waltz), Op. 8 No. 3
(AGUSTÍN BARRIOS MANGORÈ)
3. Contemplacion
(AGUSTÍN BARRIOS MANGORÈ)
4. Lascia ch'io pianga (Let Me Weep) from Rinaldo
(GEORGE FRIDERIC HANDEL, arr. Jan-Olof Eriksson)
5. Chôros No. 1
(HEITOR VILLA-LOBOS)
6. Stélé First Movement from Stélé
(PHILLIP HOUGHTON)
7. Verde Alma (Innocent Soul)
(MAXIMO DIEGO PUJOL)
8.* Passeio no Rio (Walking in Rio)
(LUIZ BONFÁ, ed. Carlos Barbosa-Lima)
9. Il pleut dans ma chambre (It's raining in my bedroom)
(CHARLES TRENET, arr. Roland Dyens)
10. Ländler No. 3 from Zwölf Ländler samt Coda (Twelve Dances with Coda), Op. 75
(MAURO GIULIANI, arr. Karin Schaupp)
11. Tritsch-Tratsch-Polka
(JOHANN STRAUSS II, arr. Jochen Schubert/Thomas Pinschof)
Genevieve Lacey sopranino recorder
12.* Waltzing Matilda
(MARIE COWAN, arr. S.G. Giacomantonio)
13. Dedicatoria from Cuentos de la Juventud (Songs of Youth), Op. 1
(ENRIQUE GRANADOS, arr. Karin Schaupp)
14. Asturias (Leyenda)
(ISAAC ALBÉNIZ, arr. Karin Schaupp)
15.* Adagio (Second Movement) from Concierto de Aranjuez
(JOAQUÍN RODRIGO)
Dinah Woods cor anglais,
Benjamin Northey conductor
Tasmanian Symphony Orchestra
Total Playing Time 54'57
*Tracks 1, 8, 12, 15 recorded specially for this album.
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4MBS Classic FM
Earlier this year, guitarist Karin Schaupp began touring a one-woman show called Lotte’s Gift - a play written about herself, her mother, and her grandmother, Lotte Reinke. Lotte was on her way to a successful singing career, when wartime Germany and an unsupportive husband buried her dream. In the role of narrator, actor and guitarist, Karin tells how this dream finally became realised through her own achievements, thanks to Lotte’s warmth and inspiration.
Lotte’s Gift the album features music from the play, selected and performed (mostly solo) by Karin Schaupp. It is a balanced, emotive collection of pieces ranging from the sparse, melancholic Stélé by Phillip Houghton to the humorous and nostalgic Passeio no Rio (Walking in Rio) by Luiz Bonfá. Then there’s the fiery Spanish Asturias (Leyenda) by Isaac Albéniz contrasted with the exuberant Tritsch-Tratsch-Polka by Johann Strauss II, featuring Genevieve Lacey on sopranino recorder.
In the liner notes, Karin states that although she did not inherit her grandmother’s singing voice, it is her hope to make the guitar sing . Mission accomplished, I’d say.
The album opens with Brahm’s Waltz, Op. 39 No.15, originally written for piano, but which translates beautifully to guitar, seeming like the perfect choice to set the scene. Played by Karin with warmth and delicacy, it sounds like a comforting lullaby - preparing the listener for a bedtime story to come.
Further in, Karin proves again that she can sing through her guitar, with her lyrical version of Handel’s Let Me Weep, an aria that was actually sung by Lotte as a young woman. And Verde Alma (Innocent Soul) by Pujol is very sweetly played to depict Lotte’s first kiss.
A highlight of the album is a piece which Karin describes as a humorous arrangement by my husband – a slow revealing Waltzing Matilda. Also a highlight is the much-loved Adagio from Rodrigo’s Concerto de Aranjuez, which is not in the play, but has been added as an extra gift , featuring the Tasmanian Symphony Orchestra and the haunting cors anglais of Dinah Woods.
Overall, this is a lovely selection of pieces played exquisitely, translating the warmth of this family story into music.
Wendy Lang
DAVID WILLIAMSON ON THE WRITING OF LOTTE'S GIFT
Karin came to me after the first Noosa Longweekend in 2002 and told me she had an interest in acting and was interested in acting in a play that combined her musical skills with drama. This was immediately exciting to me. The thought of combining the work of a guitarist of world stature with strong drama would be an evening quite unlike one I'd ever seen in the theatre. I was immediately enthusiastic.
Karin's animation, her playful sense of irony, her presence and her confidence gave me a feeling that she would be a fine actor, besides there was no way, I reasoned, that this consummate professional would be putting herself in a situation she couldn't carry off. And so it has turned out.
I asked Karin to tell me something of her family background. As soon as she started telling me about her grandmother Lotte's life, I felt that this was the story we had to tell - the story of a woman of huge musical talent, whose career was thwarted; and of the influence and help she gave her granddaughter to ensure that her granddaughter's talent wasn't impeded in the same way. Lotte gave Karin her first guitar when Karin was just four.
This would be the story of three generations of highly talented women; a story which reflected how, thankfully, the world has changed. Karin's talent would be there for everyone to hear when she played--it didn't have to be spelled out.
Karin took the idea to her family. They were guardedly enthusiastic, and allowed me access to Lotte's written recollection of her life, and to interview Lotte herself. It was a very special privilege - Lotte is a wonderful, dramatic, optimistic and resilient character, one which Karin brings to life on stage.
KARIN SCHAUPP ON THE MUSICAL CHOICES
David and I had intended for my musical choices to serve to punctuate the script. As the process of choosing music progressed, I realised that the music had to be subservient to the script, and I chose the shortlist of pieces based largely on intuition of how particular moods could be deepened by particular pieces of music. It turned out, perhaps not surprisingly, that the pieces that suited best have many subtle musical connections to the story.
For example, Lotte's first kiss is held a little longer by a piece called Innocent Soul, written as a declaration of love by a contemporary Argentinean colleague to his new love. Lotte's despair about Heinrich's adultery is marked by the heartbreaking Händel aria O Let Me Weep which is particularly poignant as it is an aria Lotte herself sang in her younger years. Stélé which is heard during the most traumatic wartime memories, is a work by Australian composer Phillip Houghton, describing a monument erected in memory of soldiers who died far away from their homelands. I did not choose the pieces based on these connections, but it is amazing to me that so many connections have appeared as the result of an intuitive process.
A CO-PRODUCTION BETWEEN CDP AND THE ENSEMBLE THEATRE
based on the memoirs and recollections of Lieselotte Reinke and
the recollections of Isolde and Karin Schaupp and Trudy von Stein.
Described as 'the poet of the guitar' Australian classical guitarist Karin Schaupp is widely considered to be one of the most outstanding young guitarists on the international scene. David Williamson is Australia's foremost playwright whose work is internationally acclaimed. Named as one of Australia's 100 Living National Treasures by the National Trust in 1998, David's plays have been performed by every major theatre company in Australia as well as in London, the Kennedy Centre in Washington, on Broadway, in Berlin and Los Angeles.
Lotte's Gift is a new work by David Williamson written especially for Karin Schaupp. It is the story of three generations of women, Karin, her mother Isolde and, most importantly, her grandmother Lotte. The play takes the audience on a remarkable journey, punctuated with Karin's mood enhancing guitar playing. Lotte is passionate about music. She has to be. Surviving war, an indifferent marriage and a 'witch of a mother-in-law' isn't easy. And seeing dreams slip into a harsh reality takes courage, determination and a joy for living.
Determined that Karin's talent not be thwarted, Lotte gave Karin her first guitar at the age of four and has been a source of warmth, encouragement and inspiration ever since.
Lotte's Gift is a story of three remarkable women which comes passionately and movingly to life.
...storytelling at its most moving, and one of the best theatre experiences I have had to date. Lotte's Gift is one of the most intimate and enchanting pieces of theatre to hit Sydney for some time. Go and experience it and 'meet' this remarkable woman.
Joanna Erskine, Aussie Theatre
...intimate and moving theatre, where memories are accentuated by momentous history or personal dilemma and exquisitely performed music invites deep reflection on life's challenges... exceptionally beautiful
Mark Hopkins, Sydney Morning Herald
...a cut, polished and multifaceted entertainment that defies easy pigeonholing. It's not a musical yet it's full of music; it's full of drama, yet it's simple storytelling of the kind that enthralls... an engaging Australian story
Diana Simmonds, Stage Noise
It's got warmth in spades ... as a performer Schaupp is open, personable and animated
Jason Blake, Sun-Herald
(Lotte's Gift) tells a true, heart warming and often hilarious Australian story. As a bonus, it features Schaupp's sublime mastery of the classical guitar. It has the potential to travel the world.
Diana Simmonds, Sunday Telegraph
Though not without humour, the play is a gentle biographical tale of artistic ambition, sacrifice, legacy and love...it spans three generations, affirms the power of music and is an unusual chamber piece...the story, like the music, casts a tender spell. Schaupp, particularly as the resilient Lotte, is a force to be reckoned with while Williamson displays a sensitive hand as director
Bryce Hallett, Sydney Morning Herald |
