FOR ORTIZ, THE HARP IS A MUSICAL LOVE AFFAIR

“Once you’ve heard the Paraguayan harp,” Alfredo Orlando Ortiz insisted, as he readied for a photo session, “you are drawn to it--you will love it more than any other harp music.”

As the Cuban-born musician began gently playing the 36-string instrument, the photography studio almost instantly became filled with onlookers. Only when the lengthy session concluded did the gathered crowd grudgingly disperse.

All in a day’s work for Ortiz, who will visit the Cal State Fullerton University Center Theater today for a free lecture (at 4 p.m.) and recital (at 6 p.m.).

Now a resident of Corona, the 38-year-old harpist--who also trained and became a medical doctor in Colombia--has spread the magic of the harp in tours of Europe, the Middle East and, of course, South America.

The Paraguayan harp, he said, is “the most popular worldwide. In the ‘50s, a group called Trio los Paraguayos sold millions of records. Millions.”

In Latin America, Ortiz said, the harp is the voice of “everyday music. Almost every country has its own version.” At the top of the popularity list is Paraguay, where the harp is the official national instrument. “Everyone there is in love with harps,” Ortiz said. “You find them on sale everywhere--even in airports.”

And in the United States? He smiled wistfully and shrugged. “Interest in folk music here is mostly limited to a particular ethnic group. A Polish dance company comes to town, and the Polish community shows up.” But, he cautioned once again, hearing is believing. “I remember auditioning for a job at the Cask and Cleaver restaurant in Corona,” he recalled. “Before the audition, I overheard the owner grumbling when he discovered what I played.” A grin. “I worked for them for seven years.”

Ortiz himself was “swept away” by the harp as a young man of 15, living with his family in Venezuela. A friend played the Venezuelan harp for him, and Ortiz immediately clamored for lessons. His friend--who became his first teacher--was 13.

A year later, Ortiz discovered the Paraguayan harp when he heard a group playing at an amusement park. “I snuck into the harpist’s dressing room and told him I wanted to learn,” he said. “He gave me the number of a man--who turned out to be the consul general of Paraguay. He introduced me to an acquaintance of his, and my lessons began.”

As his musical career progressed, Ortiz, mindful of practical matters, completed his medical studies in Colombia. There, for more than five years, he worked part time as a general practitioner, all the while continuing to perform.

Now, having recorded dozens of albums (including eight self-produced records in the United States), Ortiz’s sole practice is the harp.

“Even though there are no pedals (and thus a limited number of keys), you can create a variety of harmonies, styles and rhythms,” Ortiz said. The sound may seem simple, but the syncopations and some of the fingerings are very tricky. “Try playing a three-against-eight rhythm,” he said.

Though he often performs in traditional Latin American peasant garb, Ortiz stated flatly: “I am a soloist on the harp. I am not a folk musician.” He does, however, compose extensively, often expanding from an improvised theme. One such improvisation--played in a most unusual locale--developed into a very special, full-length suite.

“On New Year’s Eve five years ago,” Ortiz recalled, “I played my harp in the delivery room while my wife gave birth to our second daughter, Michelle Maria. I brought in a little tape recorder with me. The finished suite (‘Music for a Birth’) ended up on one of my records. The last section is the tape of the actual birth--you can hear my daughter’s first cry.”

Ortiz gave a dreamy smile. “It was the concert of my life,” he said.