Lutanist lowers sights

Press, 9 December 1976, Page 6

Lutanist lowers sights

If on travels around New Zealand one chances on an American carrying a lute and eyeing a woolshed with a speculative gleam, it is likely to be Karl Herreshoff.

Mr Herreshoff was a fairly normal child of scientist " parents. His grandmother, though had been a concert pianist, and got her grandson started on the piano. His passion for woolstores, country halls, art galleries other peoples’ houses came much later.

Music probably stood in the way of any higher education, for by the age of twelve, in spite of his grandmother’s good efforts young Karl had discovered the guitar. Although folk music was coming to vogue at the time he preferred flamenco. Where the interest had come from, he was not sure — perhaps he had heard flamenco records at his home in San Diego.

From there it was the classical guitar.

His first teacher gave lessons from a pet shop, and as he improved, he graduated from his teacher’s teacher to his teacher’s teacher’s teacher, taking a year of tuition in Mexico City. He gave his first recital when he as 15, and by 17 was playing professionally in Los Angeles as a staff musician at Paramount Stu-

dios. He still heard some of his “gobbledegook” on latelate shows, he said in Christchurch yesterday. A year as one of the instrumentalists with the Chad Mitchell Trio — banjo mainly — was lucrative, but after an “art or money” decision, he forsook that group and began concert tours in the United States and Europe. There were further periods of study, with the famous cellist Pablo Casals, among others, and stints as an artist in residence at various universities.

His interest in baroque lute came because much of the music for guitar was transcribed from the lute, he said. He had a lute built in New York, and while in Eur-

ope began seeking out lute [music in old museums.

One soon discovered why much of the obscure music for baroque lute had remained obscure, he said. “It is so boring.” The baroque lute, with its 24 strings, was tuned in D minor — six in D.F. and A and the remainder in a descending scale. It was difficult to play, but once interesting composers were found it was possible to build up a repertoire that would entertain audiences. Why the interest in woolsheds? "There are 2000 woolsheds to every concert

hall in New Zealand,” he said. “These are the alternative venues, places one can avoid the fur coat brigade, and play to people, not jewellery.” On his first visit to New Zealand two years ago he found a greater interest in the arts here than in the United States. “There is a reason for the high suicide rate of artists over there,” he said. “When one realises that all the classical musicians are competing for a place at the Lincoln Centre, it is easier to understand the pressures.”

Hence the interest in alternative venues; by playing to more people he can somewhat recompense for the lower income. He likes playing in

schools too, but compulsory attendance, and the “bashing

system” he found in the United States — where talkers were later beaten — did little to teach appreciation of classical music, he said. Now a naturalised New Zealander, Mr Herreshoff is based in Wellington, and has been sponsored for his concerts in Christchurch by the local classical guitar society, which hopes to have him back next year. He will give his final concert of this series at lunchtime today in the C.S.A. Gallery. The temperatures may preclude fur coats.