SOLO BASS PIONEER TO INTRODUCE CONCERTO

Ever a pioneer in a career that now goes back 25 years, Gary Karr is still adding works to the sparse repertory for the double bass. The California native, who made his base in Canada for more than a decade and now lives in Connecticut, remains our pre-eminent American touring soloist on the string bass. Like some singers, pianists and fiddlers, he gives up to 100 solo performances annually; unlike them, he does so on the so-called bullfrog of the orchestra, an ungainly musical vehicle at best.

This week he adds something substantial to the repertory for that usually neglected, still-maligned instrument.

It is the Concerto for double bass and orchestra by Lalo Schifrin. It receives its world premiere performance tonight at the Orange County Performing Arts Center, played by Karr and the Pacific Symphony, conducted by Keith Clark.

Successful in writing for both the contemporary-classical and commercial arenas, Schifrin, who will conduct the premiere performance (Clark will lead the rest of the program), has been praised for his craftsmanship. Indeed, on the phone from Athens, Ga., Friday, where Karr was giving master classes at the University of Georgia, the soloist mentioned Schifrin’s “fabulous orchestration” first.

“It’s amazing how cleverly Lalo writes,” the solo bassist said. “When it comes to orchestration, he could have written the book.

“The piece is scored for a large orchestra, and it is really a big piece--probably over 30 minutes long.”

In the conventional three movements of strong contrast, Karr explained, the new concerto “still has surprises--like some unexpected jazzy passages in the slow movement.” He calls the concerto, “basically tonal and accessible. “

“Mostly, it is lyrical,” he said. “Lalo focuses on the lyrical qualities of the instrument--which makes me particularly happy. There is nothing I like better than the chance to spin out a tune.”

The premiere, originally scheduled for Thursday, was moved up two days when trumpet soloist Maurice Andre became ill and canceled his appearance with the Pacific Symphony.

A native Angeleno, the bearded, 45-year-old Karr made his New York Philharmonic debut on television in the spring of 1962; in the fall of that year, he played his first New York recital.

In the subsequent quarter-century, he has appeared as soloist with the orchestras of Berlin, Toronto, Osaka and Chicago and BBC, among others, and has played recitals throughout Europe as well as in the Middle East and Far East.

One of his principal interests lies in music education; it was his dedication to that field that kept him active and resident in Canada for many years. At one point, he juggled work as a sixth-grade teacher in a Canadian school with his touring life; later, he taught at Dalhousie University in Halifax, Nova Scotia.

“Now, I’m so busy--for the first time in my career, I’m actually turning down engagements--there isn’t much time to continue all that,” Karr acknowledged. “My interest in the public schools is as strong as ever, but, after 10 years of living in Connecticut. . . . The fact is, people in our country are not very interested in music education. It’s just a low priority for them.”

He recalled other times, when the bulk of his performing took place before young people. In particular, “one year when I played, with my partner, (keyboardist) Harmon Lewis, for every single school-age student in British Columbia.

“It took all of eight weeks, spread out over the school year, but we did it. Daytimes, we would play three or four school assemblies for the kids. At night, we gave recitals in the town for the adults. I love British Columbia, which I think is still quite undiscovered. I still own a house there.

“But, those were happy days, with happy memories. And, by the way, all those performances were not funded by the government or by the province. They were all projects of the separate communities.”