It Takes more than Pluck

Mike Rose

1977 Winner of the National Competition for Classical Guitar

Guitar in hand a casually dressed, bearded figure comes on stage, bows and with easy informality introduces the first work. Under harsh fluorescent lights, subtle, scintillating sounds of Dowland lute songs fight with the dry acoustics of the library lecture theatre.

Mike Rose, winner of the 1977 National competition for Classical Guitar is giving a series of concerts organised by the Federation of Classical Guitar. So far he has performed in Dunedin, Christchurch, Timaru and Wellington, later this year he'll visit other centres in the North Island.

A solo recital is gruelling for even the most experienced performer and Mike works hard to capture his audience making the most of technical skill, personal charm and a well-arranged programme. And it's all genuine, even the charm. Off-stage he's the same. Sincere and idealistic.

Last year Mike graduated B Mus, after six years at university - off and on. He originally enrolled for a medical intermediate, then switched to physics and did a bit of philosophy. As a teenager he tried jazz and rock guitar, jamming with a few friends, but it wasn't until 1973 that he took up the guitar seriously.

First success came in 1975 when he enrolled as a performance student in classical guitar and the same year won the Senior Guitar Competition in Hamilton. His teacher at the time was American guitarist, Karl Herreshoff, who was a great inspiration. In September Mike and Karl will be performing a duet concert at the Dowse Gallery in Lower Hutt.

A performing artist who doesn't play an orchestral instrument is on his own in every sense. "You have to live as well as keep up your practice and learn new works." Mike's prize money was $200 and he gets part of the profits from concerts. He teaches guitar privately and plays in the Coachman restaurant. "I hate playing in restaurants." Next year he's thinking seriously of applying for Teachers College - not for the money, though that would be a help. "It would have to be a commitment." Mike says.

He appeared on the television programme Opportunity Knocks, though it's not a suitable medium for solo guitar. "Good experience though, and I hoped to get a chance to be on Kaleidoscope, but now they are short of money." He also auditioned for radio, but all the letter-writing and telephoning and the tedium of trying to promote yourself is terribly frustrating.

House-concerts are particularly suited to the guitar style and Mike hopes to organise a concert circuit playing with small ensembles or a singer as well as performing solo. Usually a house-concert is a social occasion. A host will invite friends and charge an admission fee, with wine included. Guests are able to mingle more and meet the performers. It's more relaxing for the performer than for a formal concert. But the music is still serious, he adds.

He likes most styles of music - as long as they're good - but prefers to play works that were specially written for the guitar or lute. His repertoire includes 'standards', Dowland, Robert de Visee, Fernando Sor, Villa Lobos and also lesser known contemporary composers, Regino Sanz do la Maza and Rodrigo Moreno Torroba. His mother tells him to play something more popular instead of all these obscure Spaniards that nobldy's ever heard of. He smiles. "I will get on to some Chopin and Schubert transcriptions later on." Contemporary works tend to exploit a greater range of sonority using tremolo, tamboura and harmonics. But for an encore he plays an old favourite - Ravel's Pavane for a Dead Princess.

At the moment he's taking lessons in improvisation and becoming more interested in arrangements - composition even. What he most needs is inspiration and stimulation and that's a problem in New Zealand.

Overseas would be great for hearing music, concerts and taking master classes. But over there opportunity is great but competition is far greater, and where is the money going to come from?

Mike's idols? Pablo Casals, Julian Bream and Jimmy Page - he smiles again, "everything as long as it's good." The music is important. That's what matters.

Julia Millen