MILOS / ARANJUEZ

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MILOS
ARANJUEZ

Works by · Werke von
Joaquín Rodrigo
Manuel de Falla
London Philharmonic Orchestra
Yannick Nézet-Séguin
Int. Release 17 Feb. 2014
1 CD / Download
0289 481 0652 3 CD DDD GH
Blu-ray Audio GH


Liste de titres

Joaquín Rodrigo (1901 - 1999)
Concierto de Aranjuez for Guitar and Orchestra

2.
10:52

Milos Karadaglic, London Philharmonic Orchestra, Yannick Nézet-Séguin

Manuel de Falla (1876 - 1946)
Joaquín Rodrigo (1901 - 1999)
Milos Karadaglic

Fantasía para un gentilhombre for Guitar and Small Orchestra

Milos Karadaglic, London Philharmonic Orchestra, Yannick Nézet-Séguin

Durée totale de lecture 1:00:06

. . . [his] outstanding talent sets him apart from his peers . . . [Aranjuez CD]: most exceptional artistry . . .

. . . an energising experience . . . he pulls off the Aranjuez with energy and aplomb, his playing demonstrating a new level of maturity and an ever-developing skill. The accompanying London Philharmonic Orchestra sounds vibrant and well-drilled under the electrifying baton of Yannick Nezet-Seguin.

Karadaglic has the deluxe partnership of the London Philharmonic Orchestra and Yannick Nézet-Séguin, the Canadian wunderkind maestro . . . The new disc shows him engaging with some of the greatest music to have emerged from Spain, and playing it with passion and subtlety in tribute to his guitarist idols.

. . . [a] stunning CD . . . [Rodrigo / "Concierto de Aranjuez"]: the piece is brought vividly to life by the Montenegrin-born, London-based virtuoso, with the concerto's regal second movement a real highlight . . . fluency and technical brilliance of the musicianship . . .

The restraint of the LPO under Yannick Nézet-Séguin is crucial to Rodrigo's "Concierto de Aranjuez", conveying thrills with darting strings and winds that don't overwhelm the delicacy of Milos' guitar. But it's Rodrigo's "Fantasia para un gentilhombre" that is the surprise, both more quixotic and sentimental than the better-known concerto, and hugely appealing. The set concludes with a gently florid solo interpretation of Lennon & McCartney's "Michelle", Milos playing freely with the tempo.

. . . [the album] is certainly attractive . . . an atmospheric version of "The Miller's Dance" . . . Karadaglic comes across as an interpreter of delicacy and meticulousness . . . spry accompaniments from the London Philharmonic under Yannick Nézet-Séguin.

I've loved Rodrigo's "Concierto de Aranjuez" since I was a teenager, and there's never been a better recording of it than this . . . [guitarist Milos Karadaglic] is a phenomenon . . . [a] well-recorded, beautifully performed album . . . including a charming transcription by Toru Takemitsu of The Beatles' "Michelle". A slimmed-down London Philharmonic under Yannick Nézet-Séguin accompany attentively, and this is not to be missed.

. . . his performances with Yannick Nézet-Séguin and the London Philharmonic Orchestra are assured and elegant . . . [Rodrigo / "Invocación y danza"]: These character pieces reveal Karadaglic introspective and searching side, which listeners will enjoy as a contrast to his more extroverted style in the larger works.

The Montenegrin's take on the most famous guitar concerto of all proves an instant success.

. . . this hugely talented guitarist here tackles some of the juiciest (and most problematic) pieces in the Spanish repertoire with fabulous results. Milos Karadaglic has a feather-light touch, honeyed tone and warm bass. Musical details are well thought through, and -- like a good pianist pedalling -- he knows when, and how long, to let notes and chords ring on for colourful effect. Separate lines are superbly distinct, for instance in the foot-stamping finale of "Aranjuez", one of the clearest, crispest on record. The Concerto's famous second movement . . . is excellently done with a fine climax . . . The balance artificially upstages the orchestra (as it has to), revealing lots of guitar detail often unheard . . . The solo pieces are super too, with lots of reverb, giving a sense of mystic space. The "Homenaje" is dark, dignified and brooding, and the "Dance of the Miller" dazzles, evoking all Falla's orchestral, guitar-imitating original . . . [The "Invocacion"] is one of the best on CD, making dramatic sense of this brilliant but episodic piece, silkily knitting together those disparate tremolando, arpeggio and harmonics passages. Add a stately "Fantasia" full of nostalgic grandeur, and this is a thoroughly recommendable, beautyful disc.

. . . [the CD] is a multifaceted beauty: eloquent, warmly spirited performances of both concertos plus three solo turns that alone might justify the price of the disc . . . It's hard to know what to admire most about Karadaglić's masterly "Aranjuez". More than technically effortless, his playing reflects a profound poetic rapport with Rodrigo's flamenco-inspired music. By turns singing, incisive, sensual and brilliant, this is a recording I could imagine living with in desert-island bliss. Nézet-Séguin's all-in engagement with music and soloist is also evident in the London Philharmonic's vivacious support. And that is to say nothing of the wonderfully infectious, if perhaps less familiar, "Fantasía" . . . the "Fantasía" is a sun-lit frolic, and Karadaglić invests its charm with a distinctive regard for the graceful dances at the root of each of the four movements . . . Separating the two concertos in the CD layout are three solo works that simply remove any question of Karadaglić's place at the forefront of today's most important guitarists: a visceral, indeed electrifying account of the "Miller's Dance" from Manuel De Falla's ballet "The Three-Cornered Hat", together with a solemn, probing take on Falla's "Homenaje: Le tombeau de Claude Debussy" and a gorgeously hued performance of Rodrigo's "Invocación y danza: Homenaje a Manuel de Falla".

The young Montenegrin guitarist Milos Karadaglic continues to establish his position as one of the most exciting and communicative classical guitarists today with this flamboyant recording of works by Joaquín Rodrigo . . . and two seductive pieces by Manuel de Falla. The conductor Yannick Nézet-Séguin and the London Philharmonic Orchestra bring out the percussive rhythms and soulful melodies of these popular works.

The Montenegrin's classy take on this much loved Concerto remains a firm favourite.

. . . [Rodrigo / "Concierto de Aranjuez"]: [Milos' approach] fits the mood of the music. What Milos does best of all is to create a fine Spanish atmosphere for the music. We get a feeling for the ornate patios, sunlit terraces, and redolent gardens of the Aranjuez palace. What he does next best is present us with a lovely "Adagio", haunting and evocative . . . sweet and sensitive . . . [Falla]: [Milos lends the pieces] an appropriately Spanish flavor . . . taking up the inflections and nuances of the landscape more than capably . . . [Rodrigo / "Invocación y danza"]: It's one of the best pieces on the program, with Milos appearing greatly to savor the color and shadings of the music . . . [Rodrigo / "Fantasía para un gentilhombre"]: Milos handles it in a refined and stately manner, filling it with rich detail . . . The third-movement dances have a particularly zesty bearing to them. Maestro Nezet-Seguin and the London Philharmonic know enough to stay out of Milos's way, lending a solid support without ever overshadowing the soloist's work . . . The recordists have captured a pleasingly agreeable sound, warm and comforting.

[Rodrigo / "Concierto de Aranjuez"]: Wenn die Kraft des Orchesters und die intime Klangqualität der Gitarre hier verschmelzen, zeigt sich die kammermusikalische Leidenschaft, die den montenegrinischen Gitarristen Milos Karadagliæ und das London Philharmonic Orchestra unter Yannik Nézet-Séguin wie Seelenverwandte verbinden. Feinsinnig spüren Solist und Dirigent den Dialogen zwischen Gitarre und einzelnen Instrumentengruppen nach -- so, wie es der in Paris ausgebildetete Rodrigo in seinem Konzert klug konzipiert hat. Bemerkenswert schön sind die Klangfarbenspiele, die das Ohr ins Detail führen . . . Am Ende der CD kann sich die klangvolle Musizierfreude des Solisten und des London Philharmonic in Rodrigos viersätziger "Fantasia para un Gentilhombre" noch einmal prächtig entfalten. Schwärmerische Tempi und warme Gitarrenklänge runden das populäre Spanienalbum gutgelaunt ab. Wechselseitiger tänzerischer Drive belebt geschmackvoll das bewusst spanische Kolorit. Bunte Kanarienvögel in duftenden Orangenbäumen, auch hier kann man sie wieder genussvoll heraushören.

Milos Karadaglic geht seinen Weg, und es ist so weit: Unweigerlich muss eine Gitarristenkarriere zu dem großen spanischen Komponisten Joaquin Rodrigo führen, der das Repertoire um betörend schöne Werke bereichert hat, allen voran das berühmte "Concierto de Aranjuez" und die "Fantasía para un gentilhombre" -- Schlüsselwerke der konzertanten Gitarrenliteratur . . . Und Karadaglic ist der hochsensibel schattierende Interpret dieser so klangsinnlichen Musik, er spiel emotional kontrolliert, kultiviert und nie exaltiert. Und er hat das Glück, in Yannick Nezet-Seguin einen Dirigenten neben sich zu haben, der das London Philharmonic Orchestra zu hellwachem Mitgestalten animiert. Es ist auch ein Verdienst der Aufnahmetechnik, das der Orchesterpart sehr feingezeichnet und transparent abgebildet wurde . . .

. . . [Rodrigo / "Concierto de Aranjuez"]: [une] interprétation magistrale, soignée, méticuleuse . . .

On ne sait qu'admirer le plus: les couleurs délicieusement arabo-andalouses et si finement choisies de l'orchestre? Ou bien le jeu d'un subtil raffinement et richement nuancé de Milos? Le très fameux "Concerto d'Aranjuez", de Joaquin Rodrigo, constituant évidemment le porte-étendard idoine de ce beau doublé. L'Adagio est parfait pour laisser "chanter" le soliste, dont on saluera le lyrisme bouleversant (superbes legatos) et le phrasé parfait des ornements. L'option d'un tempo particulièrement étendu, retenue pour le long passage solo du milieu, créé une césure mais permet de donner un poids et une coloration différents à chaque note. Il n'en prépare que d'autant mieux le fiévreux emballement extatique des dernières mesures. Mais c'est dès l'Allegro que la complicité avec l'orchestre s'installe. Et celle-ci s'avérera encore plus miraculeuse dans la moins connue mais non moins caractéristique "Fantaisie pour un gentilhomme" . . . Milos y montre l'incroyable variété du champ des possibles de la guitare classique, qui épouse tour-à-tour les contours mélodiques du violoncelle (l'Espanoleta), rythmiques du clavecin (fugue du premier mouvement), capable d'aigus flûtés et aériens comme d'accords d'une tranchante verticalité.