BY ZOE DOUGLAS-KINGHORN, LEAD WRITER
Callum Henshaw is a bit of a wunderkind.
Hailing from Canberra, he first picked up the guitar as a young tot at the age of 6, and the now-grown performer is now one of Australia’s most exciting classical musicians. Since placing first in the 2017 Melbourne International Concert Artist Guitar Competition, Cal is on the road as part of a tour of regional Australia – all while becoming a doctor of music.
We chat to Cal about patting other people’s dogs, travelling, and his new album Forest of Dreams.
I feel like the guitar is sometimes underexposed as a classical instrument. What would you say is the most unique feature of your instrument? How is it different to playing folk style or electric guitar?
The performer’s direct contact with the instrument is one of its charms: sometimes, we must use three fingers to produce just one note! Although this is at times frustratingly limiting, it’s what helps to create the charms of the classical guitar’s sound and expression.
I would say what sets classical guitar apart from other styles is the repertoire itself. Increasingly, however, composers are embracing the kaleidoscopic colours that electric, steel string and 12-string guitars can offer.
Do you have a practice routine? What does it look like?
My practice routine is unusually regimented: I practice intensely for 20 minutes, followed by three minutes of break using an interval timer. I do that for four hours a day.
It’s important for me that the break is a real break. I stretch, eat, muck about on Instagram, anything that’s not guitar. That way, my brain stays fresher for when I am playing.
I came upon this through recovering from injury, building up from two minutes of practice. In the end, my concentration rather than my body is the limiting factor in how long I can practice for!
You’re finishing a doctorate – congratulations! What does your thesis explore, and what are your plans once you become a doctor of music?
You’ve asked the dreaded question! I’m investigating composer-performer relationships. In essence, composers without an adroit practical knowledge of the workings of the guitar have worked with performers to ensure their works are playable. The resulting interactions can have a very marked impact on the notes themselves.
My research is in two parts: one written and one performative. The difficulty lies in making those two parts a cohesive, intelligent whole.
After I graduate, I plan to do an east coast tour of Australia, bringing music to regional audiences…except, I will ride my bicycle between all of the gigs!
Your new album Forest of Dreams is lyrically evocative, and very dreamlike. What is your favourite piece from this album to play? (I have to say my favourite is Houghton’s Stele.)
Without a doubt, the opening piece Un Sueño en la Floresta by Paraguayan Agustín Barrios is my favourite to play. It’s been with me for over 10 years, and never fails to draw a smile from the audience. My favourite to listen to, on the other hand, is Burlesca del Aire by Leo Brouwer. That one is too much of a handful to classify as enjoyable to play, though.
What was the recording process like? Is it super different to performing?
Super, super different. It’s closer to practising than performing, except it’s practising at 100 per cent on each and every repetition. We took three-and-a-half days in the studio to record 14 hours of playing, which is edited into 61 minutes of music.
I love the process of constructing something so precise and crafted, but it is intense and laborious.
Which performers inspire you?
More and more, it’s my peers who inspire me – people like Andrew Blanch, who is making waves in Sydney and nationally. Or Campbell Diamond who’s debut album Prelude I can’t get enough of. We all studied together at the Australian National University, and it’s exciting to see them both become intimidatingly good musicians.
You have a plethora of awards to your name – what is the most memorable experience you’ve had onstage?
Some of the best fun I’ve had was playing in a guitar quartet during my undergraduate studies. There’s something so magical about performing with others, especially when most of the time you’re doing it solo.
My most memorable experience would be playing a premiere of a work Love Song for guitar and strong orchestra by Peter Sculthorpe, with the composer watching from the audience.
What do you do when you’re not a-playin’ guitar?
I like to ride and race my bike – a lot. Probably too much. But I also love cooking, patting other people’s dogs, and Canberra’s growing late-night dance music scene.
Where is the best place you’ve travelled?
Tough one, but it’s hard to go past your own backyard, right? Jervis Bay on the New South Wales South Coast is hands-down one of the most spectacular places I’ve ever been. And I’ve been around!
If you could play a piece to some aliens who’ve come to earth (and have aural receptors that allow them to enjoy music), what piece would you play?
It’s tempting to choose the most beautiful piece I know: Niel Gow’s Lament. But, who knows? Maybe what’s pretty to us might not be to them! So instead, I think something like Nigel Westlake’s Mosstrooper Peak, which includes an enormous variety of sonic, textural and musical interest, might have the chance to captivate them.
Find Cal’s album on Bandcamp, or if you’re local to Canberra, mosey along to the album launch at 7.30pm October 26 at Wesley Music Centre, Forrest, presented with the Canberra Classical Guitar Society. Grab your tickets here. Visit Callum’s website for the dates of his national tour.
Shout the writer a coffee?
Did you enjoy the read? We’re all volunteers here at CutCommon. Shout Zoe a coffee – or even treat her to a fancy meal. It’s completely up to you. (She’s the one with the flute.)
[purchase_link id=”12709″ style=”button” color=”orange” text=”Pay what you like”]
No amount is too much or little. Thanks for supporting Australian arts journalism, you outstanding individual.
Pay what you like through PayPal. 80 per cent of your contribution will go to the writer who composed this piece, and 20 per cent to our volunteer editor for getting this show on the road. (You don’t *actually* have to take them to dinner.) We protect your personal information.
Image supplied.
