From Cape Town to the world stage, Derek Gripper has carved a unique path in music. Renowned for his breathtaking transcriptions of complex 21-string kora music, particularly that of Malian maestro Toumani Diabaté, onto the solo classical guitar, Gripper’s innovative approach has garnered international acclaim, even catching the attention of icons like John Williams. As featured in prominent Guitar Magazines, Gripper’s journey is one of relentless exploration and a deep respect for musical tradition, reimagined through the lens of the classical guitar.
Gripper’s artistry transcends genre boundaries, attracting collaborations with musicians who, like him, draw profound inspiration from global sounds. John Williams, a legendary classical guitarist himself, whose 2002 album Magic Box paid homage to African music, recognized a kindred spirit in Gripper. This led to an invitation for Gripper to perform at Williams’ curated mini-festival at the Sam Wanamaker Playhouse in London in 2016, a testament to Gripper’s growing influence and recognition within the broader musical landscape, often highlighted in leading guitar magazines.
Last year, during a brief visit to London, I had the privilege of witnessing Gripper’s captivating performance in an intimate recital held within a charming French bookshop nestled on a cobblestone street in the East End. His repertoire that evening included Bach, performed using his signature scordaturas—unique tunings meticulously developed to unlock the intricacies of kora music on the guitar. This unconventional yet deeply informed perspective on Bach offers a fresh auditory experience, distinct from the familiar Sonatas and Partitas for solo violin, which he is currently preparing to record. This innovative spirit and his unique projects are regularly discussed and celebrated in publications dedicated to the guitar, such as guitar magazines.
CLASSICAL GUITAR MAGAZINE: Your upcoming Bach recording of the Partitas for solo violin is highly anticipated. Can you tell us more about your connection with these works?
DEREK GRIPPER: My relationship with Bach’s Partitas is a long and passionate one. It began when I was 19; my teacher directed me to Segovia’s edition of the Bach Chaconne. Embarking on learning that piece led me to England for a masterclass at the Classical Guitar Magazine Festival at West Dean in Chichester around 1997. Performing the Chaconne for Carlos Bonell sparked a debate amongst the attendees, including Nikita Koshkin and others. Carlos advocated for an approach, which resonates with my current philosophy, to “use the guitar, but use it differently.” That interaction ignited my quest to push beyond the conventional boundaries of the guitar. The following evening, I encountered Jonathan Leathwood, whose “tai-chi” performance of the Chaconne in C minor was transformative. Later, in London, a lesson with Jonathan on the Chaconne proved incredibly insightful, introducing me to Paul Galbraith’s groundbreaking work. Listening to Paul’s recording of Bach’s Violin Sonatas and Partitas was a revelation, prompting me to explore the eight-string guitar, similar to Paul’s instrument. This journey of exploration and discovery is something that guitar magazines often delve into when profiling artists like myself, examining the evolution of their musical paths.
CGM: Speaking of instruments, you’ve transitioned from the experimental Brahms eight-string guitar, designed by David Rubio in collaboration with Paul Galbraith, to the more traditional Hermann Hauser guitar. What prompted this significant shift?
GRIPPER: Through a process of realization that the eight-string guitar wasn’t ultimately the instrument best suited to my artistic voice, I eventually set it aside and contemplated my next steps. Reading Segovia’s autobiography, I became fascinated by his Hauser guitar. In South Africa, there was a prevailing notion that the traditional guitar was somehow inadequate, necessitating radical reinvention, as exemplified by Greg Smallman’s designs. I recall my own guitar maker suggesting that the traditional guitar sounded muffled, “like it is being played behind a door.”
Having never actually heard a Hauser guitar firsthand, I reached out to Hermann Hauser III, the grandson. I explained my predicament, and remarkably, within about three weeks, I found myself in Munich with one of his guitars. This was extraordinary, considering the typical seven-year waiting list. I’ve been playing that Hauser ever since; it’s a 2003 model. It turned out he had a collector friend who was willing to part with one of his guitars after acquiring a new one.
What’s truly special about this instrument is that it’s crafted from the same wood stock that Hauser Sr. used for Segovia’s guitar. Annually, Hauser III creates a “Segovia Special Edition,” incorporating elements from various historical Hauser guitars. The headstock deviates from the classic Hauser design, and the back is constructed in four parts, showcasing subtle features from different eras. It adheres precisely to the dimensions of Segovia’s guitar, with a 65cm string length, though Hauser III undeniably brings his own artistry to the craft. This appreciation for fine instruments and the nuances of guitar making is a common theme explored in articles within guitar magazines.
My Hauser is undeniably a traditional guitar, yet it possesses an almost magical projection. While a Smallman guitar might boast greater volume, in practice, a few meters away, the Hauser achieves remarkable balance. John Williams and I discovered this firsthand when we performed unamplified at the Globe Theatre. During rehearsals, I struggled to hear myself alongside his powerful guitar. However, from the audience’s perspective, the blend was exceptionally balanced. This experience underscores the subtle yet profound qualities of traditional instruments, often discussed and compared in instrument reviews found in guitar magazines.
John Williams and Derek Gripper performing together
CGM: Interestingly, I noticed you employ amplification even in an intimate setting like a bookshop.
Gripper: Despite the Hauser’s exceptional qualities for unamplified performance, my experiences playing at world music festivals, often on outdoor stages, have revealed its remarkable capacity for amplification. The Hauser’s focused sound—achieved by concentrating the guitar’s complex overtones and resonances—results in exceptional clarity, emphasizing the fundamental tone without excessive harmonic clutter. This characteristic proves ideal for microphone amplification.
CGM: You also travel with your own microphone. Has this been a result of extensive experimentation?
GRIPPER: Absolutely, a great deal of experimentation. I often find humor in observing classical guitarists backstage, meticulously perfecting their nails with ultra-fine sandpaper and changing strings moments before performance to achieve sonic perfection. Yet, they often then rely on whichever microphone the sound engineer provides, which can drastically alter their carefully crafted sound, arguably more so than their choice of strings or nail shape. The microphone is crucial.
I went through a phase of favoring ribbon microphones, inspired by Segovia’s recordings. I discovered a Beyerdynamic microphone from the 1950s or 60s that captured that classic ribbon sound. Currently, I use a phantom-powered ribbon microphone by Royer, which retains the warmth of vintage ribbon mics but offers enhanced signal strength and detail thanks to phantom power. It captures the subtle string vibrations, producing a refined rhythmic texture absent with condenser microphones. Condensers excel in precision, capturing every nuance, whereas ribbon mics offer a warmer, more organic sound, akin to a valve amplifier. These kinds of technical details and preferences are often discussed in interviews and gear reviews within guitar magazines, providing valuable insights for aspiring and professional guitarists alike.
Playing solely unamplified limits performance venues. Our listening experience of guitar music is largely shaped by recordings, which are almost always amplified. In fact, well-executed amplification can create a more immersive and intimate concert experience, allowing audience members even at the back to fully appreciate the guitar’s nuances, unlike unamplified performance where only the fundamental tones may carry. I embrace amplification, not as mere reinforcement, but as a tool to create a truly engaging sonic environment – to place the audience “inside the guitar,” offering an immersive experience. This perspective on performance and sound technology is increasingly relevant in the contemporary music scene and a topic of ongoing discussion in guitar magazines.
CGM: I particularly enjoyed the timbre of your amplified guitar, both during the Bach and the Toumani Diabaté pieces. Could you elaborate on the composer-music relationship in Toumani Diabaté’s music?
GRIPPER: When performing Toumani’s music, I emphasize that I am playing a composer’s music. While it’s nuanced, as Toumani didn’t “compose” these pieces in the traditional sense—at least not entirely; it depends on your definition of composition. They are rooted in tradition, but Toumani’s interpretations are uniquely his. Interestingly, when I play my arrangements for him, Toumani refers to them as “your composition.” Were I a griot, I wouldn’t necessarily attribute my versions to Toumani. However, as a non-griot in our contemporary context, I believe it’s crucial to recognize Toumani as a composer. This reframes our understanding of who composers are and challenges conventional perceptions of African musicians. Seeing Toumani as a great African composer elevates his status beyond that of a traditional musician improvising over bass lines. He embodies, in our time, a figure akin to Bach—someone fluent in a finite musical language, capable of composing in real time. Bach would retreat to his study to notate his compositions; Toumani enters the studio to record his. This perspective on musical heritage and improvisation is often explored in articles about world music and classical guitar collaborations in guitar magazines.
If asked, “What defines a classical musician? What is classical music?”, for me, my continued self-identification as a classical guitarist stems from my belief that classical music is fundamentally the art of interpretation—the creative interpretation of musical texts. I’ve broadened the definition of “text” to include recordings, recognizing them as valid sources of musical material alongside traditional scores.
Interpretation is key. The locus of authority must shift from the score, the composer, and the teacher back to the performer’s body and instrument. This shift elevates interpretation to a profoundly creative art form. William Kentridge, the South African artist, created a series of ink drawings of coffee pots, demonstrating how artists interpret subjects. Similarly, guitarists interpret scores, not as a direct, literal representation, which I find “photorealistic” and uninspired, but as an impetus, something that ignites the act of playing. This philosophical approach to music and performance is often discussed in interviews with artists like Gripper in guitar magazines, offering readers deeper insights into their artistic processes.
CGM: While classical guitar remains central to your work, your collaborations consistently lead you down fascinating musical avenues.
GRIPPER: Indeed. I recently completed an album with cellist Mike Block, known for his work with Yo-Yo Ma’s Silk Road Ensemble. I was in Boston, and Mike invited me to record Wayfaring Stranger. Arriving at the studio, I discovered he had a full day booked for just one song. I suggested we make an entire album. We recorded ten tracks that day, our first ever meeting. I had recently completed a solo album of West African song arrangements, also unreleased, so we essentially created a cello-enhanced version of that record. Currently, I’m working on a third iteration with a string quartet. The cello and guitar possess a remarkable complementarity. The solo recordings are intimate, while the cello adds openness and improvisational elements. Mike’s playing is simply magnificent. These kinds of cross-genre collaborations and explorations are frequently highlighted in guitar magazines, showcasing the evolving landscape of contemporary guitar music.
Conclusion
Derek Gripper’s journey, as chronicled and celebrated in guitar magazines, is a testament to the boundless possibilities within classical guitar. From transcribing complex African kora music to reinterpreting Bach, Gripper consistently pushes boundaries while honoring tradition. His collaborations and insightful perspectives on interpretation and amplification demonstrate a musician deeply engaged with the evolving soundscape of the 21st century. For readers of guitar magazines and enthusiasts of innovative guitar music, Derek Gripper remains a vital and inspiring figure, redefining what the classical guitar can be. Explore the pages of your favorite guitar magazine to discover more artists like Derek Gripper and stay updated on the ever-evolving world of guitar music.
