Interview in GUITART- INTERNATIONAL (USA) 2/2006 By Lucio Matarazzo I met with Tilman Hoppstock in Pordenone (Italy), where I had recently arrived for a concert along with my fellow members of the Guitart Quartet at the International Guitar Festival, wonderfully organized by my friends and colleagues, P.Pegoraro and S.Viola. Arriving in Pordenone the day before our concert I listened to a wonderful performance given by Tilman and Rainer Zipperling, an accomplished cellist. After the concert I had time to speak a bit with my friend Tilman. Lucio Matarazzo: Hi Tilman, before we talk about your present work I guess our readers would like to know about your past. You play two instruments, cello and guitar. What was the first instrument that you learned to play? Tilman Hoppstock: I first learned the cello in 1968. Three years later I had my first serious lessons on guitar, but long before this time – I think it was in 1967 – I began playing guitar as accompaniment to folk songs. L.M.: What about your parents and who were the influences on your early musical life? T.H.: My parents are both pianists. I grew up with piano, chamber music and so on...the “serious” influence (smiling). At the same time I was listening, together with my older brother, to the music of the Beatles, Ten Years After, Jimi Hendrix and all that stuff in the late 60’s. L.M.: What inspired you to take up the guitar? T.H.: I was six years old. In school we were singing every morning and I loved folk-songs. Every day we started with singing. My aunt bought me a guitar and I began to play the instrument playing chords that I learned on my own. Later, in 1971, I received lessons in classical guitar. L.M.: In that time you'd been playing the cello for two years . . . what was the standard of your cello playing then? T.H.: Oh, in that time my cello playing was not so beautiful, but as a child does, I played and I had a good teacher but I wasn't very enthusiastic about the instrument. Much later, when I studied both instruments as a professional - the years between the ages from 16 to 20 - I also worked quite hard and intensively on the cello. L.M.: Do you still play the cello? T.H.: Rarely. Some years ago I played in a string quartet together with colleagues from the academy. But now there is less time...unfortunately. L.M.: What kind of repertoire did you play with the cello? T.H.: During my studies I preferred the Romantics: Beethoven, Brahms, Mendelssohn. Of course, the solo suites by Bach were very dear to me. Due to my studies I became quiteinvolved in baroque music. L.M.: In Classical Guitar magazine, Colin Cooper wrote the following about your cello playing: “...he is also a cellist of concert standard. On wonders in passing why anyone who plays the cello so well would want to spend the time on the guitar...” T.H.: I guess I know what you mean....10 years ago I recorded the sonata by Sergei Rachmanninof on CD together with my father. L.M.: And...of what Colin Cooper said? T.H.: I still like the cello, but I love the guitar...And I like Colin Cooper very much (smiling). L.M.: Do you find that your playing of the guitar benefits from your earlier experiences with the cello? T.H.: That’s a very interesting question. It helped me to create phrases, but more for the left hand than for the right. Of course, playing all that great music opens your mind, because there is a large difference between listening to the music than in playing it. L.M.: Did you have experience playing in an orchestra? T.H.: Yes, between 1977 and 1981 I played for four years in the orchestra of our music academy, and because we had two fantastic conductors during that time - Matthias Husmann and Donald Runnicles – I learned a lot about the stylistic elements in various genres of music. Of equal importance was the orchestral approach to phrasing and the attention to sound balance and colors that are attained by the cohesion of individual instruments into the collective voice of the orchestra. These elements have played a large role in my understanding of our “little orchestra” that is the guitar L.M.: Coming back to your early years on the guitar, who were your guitar heroes? T.H.: Julian Bream, Leo Brouwer and Narciso Yepes, and at the same time, perhaps a bit later, Andrés Segovia and John Williams. I loved their playing and I especially listened to Bream. Leo Brouwer was also a huge inspiration!! L.M.: Have you ever met them personally? T.H.: I met Julian Bream several times. My first experience was at one of his concerts in 1972, another three times I heard him throughout the 80’s in very intimate concerts he gave for no more than 50 people not far from Darmstadt, where I live. In that atmosphere his playing was always absolutely perfect, I was fascinated...it was so beautiful, so lively and – maybe that terminology doesn’t exist in English: souled with deep spirit. In 1981 he gave me a private lesson and I felt incredibly honored for that experience. L.M.: Did he like your playing? T.H.: I think he may have not been terribly enthusiastic about it. L.M.: Tilman, we know you as a specialist in baroque music. When you play baroque music the ornaments are always precise and worked out, but at the same time are felt very naturally. What is your method concerning this aspect of your work? T.H.: I always try to feel the pulse of the music, which helps to form the ornamental shape. The appoggiaturas and other ornaments mostly are defined in the music by itself and with experience you know when the ornamentation is appropriate, especially for your instrument. When you look to the bowing and articulation in Bach’s music, for instance, very often it is written in the context of the individual instrument and is not strictly outlined by the structure of the work itself. L.M.: Let’s speak about your CDs. Generally in a recording an artist will strive for perfection. T.H.: ...in a recording I want to reach the best musical result possible, even in the case of a very easy study by Sor, which shows deepness, color and balance, and unfortunately, this results in a very long time to record a CD... L.M.: Which brings me to ask: after making so many recordings, do you still enjoy the recording process? T.H.: Honestly, I am a bit tired of doing that, but with the last two recordings - I need to say - I had a lot of fun. L.M.: Which projects? T.H.: In 2003 Signum (the record company) made a live recording of the opening concert during the “Tage für Neue Musik in Darmstadt,” a festival comprise exclusively of contemporary music. So I played some “modern classics” and some really fantastic freshly composed pieces. In my opinion the I Giardini del Sogno by Karl-Wieland Kurz, is one of the finest pieces of the last two decades. The style is difficult to explain, however, you must listen to it.... L.M.:...I know it well... T.H.: ...(smiling), OK, I mean....it is based upon an old madrigal by Giovanni da Firenze. Wieland Kurz wrote nine mutations....you also could say variations, but it is more than that. As I said, it is difficult to describe, but that music is so full of atmosphere, poetry, different colors...something in-between tonality and atonality. One mutation, for example, has a scordatura of the b-string 1/4-tone lower. Another mutation is written in the style of an indian raga. I hope that other guitarists will also discover this wonderful piece. L.M.: And the second CD? T.H.: Of course, the project for GuitArt: Bella Italia, I had so much fun doing that. I need to say, that this project is one of my most lovely and deepest experiences in my recording career. L.M.: So, you like Italy? T.H.: No, I love Italy! Many important impressions of my life came from that country. As a kid I spent four weeks every year in Italy. After a long break, Angelo Gilardino helped me to renew my contact to Italy! L.M.: How did this occur? T.H.: I remember our first conversation: He woke me up at 8 o’clock in the morning with a phone call. I went to the phone and in the beginning I didn’t realize who was on the other end of the line, because I was so sleepy. I guess he must have been surprised by this rather stupid and inarticulate guy... L.M.: And then... T.H.: For more than a year we had very intensive contacts via letters, fax and phone about music, literature, and many things beyond that, until we first met in 1995. Later, he helped me a great deal in becoming more present in Italy. L.M.: Returning to your recordings, many years ago you really “exploded” in the guitar world as a major virtuoso. We all remember your Paganini capriccios and Villa Lobos studies recordings and only a few guitarists (I am one of those!!) really appreciate your musicality. Now, with the Bella Italia CD, you give, together with in my opinion your best Paganini’s Capriccio N° 24 performance, you gave a definitive lesson on the interpretation of the so called “easy music” with an extraordinary musical “cifra,” really uncommon in the guitar world. This also happened to me concerning my Giuliani and Legnani recordings: many guitarists wrote to me stating how they liked my instrumental technique but on those CD I much prefer the far easier Giuliani op. 50 executions rather than the other virtuosic pieces. (Editorial note: Please see Guitart International Vol. II for a review of this magnificent recording by Lucio, one of a mere handful of recordings, I, and many others, consider the finest recordings performed on our instrument. Send an email to guitar@guitart.net for ordering information.) What are your thoughts concerning this? T.H.: I know exactly what you mean, Lucio. But look, my experience is that there are always people in the audience who really have a sensitive vein for the “easy” stuff. I so much like to play, for example, the Estudios Sencillos by Leo Brouwer or studies from op. 31, op. 35 or op. 60 by Fernando Sor. Of course, it is not that particular repertoire that brings the listener to an exalted state, but is that the only importance for a concert? I always try to find a balance in my programs between different types of moods and it can and does include elements of virtuosity, but the simple can also be sublime and I try to offer that to my listeners as well. And there is one more point: I am totally convinced that we have the didactic obligation to the younger generation of guitarists to also present this more approachable repertoire and not exclusively dwell on the brilliant virtuoso cycles. L.M.: Well said. What are your recordings plans for the future? T.H.: Two other recordings are finished, but I am at a certain point now in my career and I would like to work with a larger recording company. For this reason I still keep the master- tapes. L.M.: Tell me more. T.H.: One production is a live-recording: Brouwer talks – Hoppstock plays. Leo performed a lecture about his music (this event was during a festival in 2000) and I gave a recital with a Brouwer program. That was a fantastic project! Leo is always in motion. His enthusiasm for music is so deep, so honest, that I can say, my impression of his personality and his character is the exact same that you will find in his recordings as guitarist or conductor. And when you listen to his compositions, this music comes directly from the deep soul of a true musician. L.M.: I had the same impression working with him on the Concierto Italico he wrote for us, the Guitart Quartet (GQ), in 2001. (Premium subscribers will receive the DVD of the Concierto Italico tour by GQ and Leo for 2006). What did he think about your interpretation of his music? T.H.: I asked him several times about that. Perhaps he is a bit tired of answering those questions. He is always a very charming person and would rather discuss subjects of broader importance. L.M.: And the other project that you were referring? T.H.: A totally opposite program, clavierwerke of the baroque in transcriptions for guitar. L.M.: Which pieces? T.H.: Suites by Buxtehude and Froberger, also the famous Tombeau, a suite by Louis Couperin and Chromatic Fantasie and Fugue by Bach. L.M.: The famous one? T.H.: No. The Fantasie is a separate piece and the Fugue is the original unfinished chromatic Fugue BWV 906 to the very famous late Fantasie in C-minor. Hard stuff to listen to. In Italy you would say “cromatissimo!” L.M.: Froberger is a tough composer. You are bringing his music to light for other guitarists. The Lamento in Eb from Suite No. 12, that you have recorded in 1988, is an exquisite piece. I noticed that there were a lot of pauses and interruptions inherent to this work. T.H.: Yes, the story concerned someone who had died; you remember the good moments and the bad moments. Froberger is always like this with changing atmospheres and chord changes. With this music I always try to keep in mind words and lyrics. L.M.: Tell me about your work as a publisher. T.H.: I founded my own label 10 years ago (PRIM-Musikverlag). L.M.: What was the first book that you published? T.H.: The Lute works by Bach. L.M.: Many publishers have done it in the past... T.H.: ...that’s true and it his is not so special in itself, but I published the lute works in combination with other alternate versions in one accolade and in the same key. For example: you find the suite BWV 995 in A minor instead G minor, on top the cello version, also in A minor instead C minor and in the third system the tablature version by a lute player of the 18th century, also in A minor. So you can directly compare three different versions transposed to the same key. L.M.: I know it and in my opinion it sounds very interesting, as I know many guitarists now work with that edition...Beside your transcriptions for concert players, you also publish music for kids. TH.: That’s true. I have a lot of fun imagining how it feels to play with little fingers...to find an arrangement to make it comfortable as possible for the little kids. L.M.: What kind of music do you publish? T.H.: For example, I have a set of books called Great Composers for Young Guitarists. It is music for real beginners, extremely easy to play and from many of the great composers, originally written for piano or orchestra reduced for 2 guitars. Another publication is dedicated to 3 and 4 guitars... L.M.:...or an arrangement of the Four Seasons by Vivaldi for two kids. T.H.: Yes... L.M.:...and Pictures at an Exhibition by Mussorgsky. That’s curious. How does that work? T.H.: I don’t use all the movements, but the Promenades and some other pictures like Bydlo, The Old Castle, and The Great Gate Of Kiev sound quite respectable even in that reduced version. As I have heard from my colleagues, the kids have great fun playing that. L.M.: Is there also literature for solo guitar? T.H.: You mean for the kids? L.M.: Yes. T.H.: I arranged Asturias – the whole piece – for kids... L.M.: The whole piece? T.H.: Aeehm, not really... (smiling). I can imagine what a kid would like to play, so I reduced the middle part and also the first part is a bit shorter, but still the “real thing.” A second book is Granados, Valses Poeticos. L.M.: Finally I would like to ask you about your teaching work. TH.: I have two classes, one in Darmstadt at the “Akademie für Tonkunst” and another one at the “Musikhochschule” in Mainz. L.M.: Do you like teaching? T.H.: Yes, very much. My first idea as I began studing music when I was 16 years old was to be a teacher in a music school, not a performer. L.M.: That’s funny too, because most young music talents want to be great soloists on stage. T.H.: Not with me, until I was seventeen I could never imagine spending my life giving concerts... L.M.: But a bit later you started your first recordings... T.H.: Yes, it was in 1979 and one year later I gave my first solo recital, but I never forgot my deep interest in teaching that endures to this day. L.M.: You also have a job in Sweden. T.H.: Yes, and it is a wonderful work, thanks to my friend and colleague Jan-Olof Eriksson. He and the university in Piteå invited me to teach there for two years. L.M.: Masterclasses? T.H.: A bit more than that: I have a class with eight students and I work with them for one year. Now in the second year there is a new class. L.M.: How often do you see them? T.H.: Four times a year. L.M.: That sounds interesting... T.H.: ...yes, because it is a progress of learning for both sides, for me and for the students. This is a real new project, which has not existed for very long in Sweden and I am so happy to be part of that experience. L.M.: Can you tell us about the ice instruments that you performed on in Sweden? T.H.: The Ice Sculptor Tim Linhart from USA or Canada (I don’t know exactly whre he is from), seems to be a famous man doing that work. During my time as guest professor in Piteå (Sweden), I visited a concert where students and teachers of the university were preparing for a performance. Before the concert I had the chance to play a bit on the instruments. It was so funny and I had real fun doing that. In that concert they also performed on ice percussion instruments which sounded best of all the instruments. A xylophone was also made in ice... fantastic. The cello and the guitar where ok, but not great in sound (I cannot imagine how it could sound fantastic...), but Mr. Linhart was totally convinced in the quality of sound, too. L.M.: That is quite unusual and interesting. I imagine it is a challenge to play anything of real difficulty when the instrument is freezing! T.H.: Yes, that is a major drawback when using ice instead of wood and then playing outside in Sweden in the wintertime. We had been sitting on ice seats and everything was very cold, but the atmosphere was very warm. L.M.: What current projects are you now working on? T.H.: In March 2006, Schott International will publish a new edition of Ponce in manuscript versions: Theme vane e Finale, Sonatina Meridional, Sonate Romantique and Sonata Clasica (fragment). I received that stuff some years ago from my friend Angelo Gilardino. In 2000, I recorded Ponce's Theme, varié e Finale and the Sonatina in these original versions and also other works by Ponce (Folias variations and Sonata III). The differences between the Segovia print and the original is so evident you cannot imagine. Theme, varié e Finale, for example, contains three new variations. And honestly as good as the changings by Segovia are, the original is even better in my opinion. The new edition I made for Schott is not only a guitar edition, but without any fingerings and a long revision report to explain all problems to the edition. L.M.: Those will be warmly welcomed by the guitar community. Tilman, thank you for the time today for this interview and best of luck for the future. nach oben / up ∆ mailto:guitar@guitart.netshapeimage_1_link_0shapeimage_1_link_1