MILOS KARADAGLIC Latino

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MILOS KARADAGLIC
Latino

Werke von / Works by
Barrios Mangoré · Brouwer · Cardoso
Dyens · Farrés · Gardel
Matos Rodríguez · Morel · Piazolla
Ponce · Sávio · Villa-Lobos
Studioorchester der Europäischen
FilmPhilharmonie
Christoph Israel
Int. Release 11 Jun. 2012
1 CD / Download
0289 479 0063 4 CD DDD GH
Blu-ray Audio GH
Following on His Sensational International Debut, Miloš Karadaglić Returns with Latino


Track List

Astor Piazzolla (1921 - 1992)
Milos Karadaglic, Studioorchester der Europäischen FilmPhilharmonie, Christoph Israel

Jorge Morel (1931 - )
Heitor Villa-Lobos (1887 - 1959)
Roland Dyens (1955 - )
Milos Karadaglic

Carlos Gardel (1890 - 1935), Alfredo Le Pera (1900 - 1935)
Milos Karadaglic, Studioorchester der Europäischen FilmPhilharmonie, Christoph Israel

Jorge Cardoso (1949 - )
24 Piezas sudamericanas

6.
0:00
4:47

Agustín Barrios Mangoré (1885 - 1944)
Leo Brouwer (1939 - )
Milos Karadaglic

Osvaldo Farrés (1903 - 1985)
Milos Karadaglic, Studioorchester der Europäischen FilmPhilharmonie, Christoph Israel

Isaias Savio (1900 - 1978)
Cenas Brasileiras

10.
0:00
2:59

Heitor Villa-Lobos (1887 - 1959)
Suite populaire brésilienne, W020

Milos Karadaglic

Astor Piazzolla (1921 - 1992)
Milos Karadaglic, Studioorchester der Europäischen FilmPhilharmonie, Christoph Israel

Manuel Maria Ponce (1882 - 1948)
Sonata No.3

Gerardo Hernán Matos Rodriguez (1900 - 1948)
Agustín Barrios Mangoré (1885 - 1944)
Milos Karadaglic

Total Playing Time 1:00:59

Montenegrin classical guitarist Milos Karadaglic is just about the hottest property in classical music today, his prodigious musicianship matched only by his matinee-idol good looks. If anybody can command the attention of a packed concert venue with just the aid of a nylon-string acoustic guitar, it's him. And he's already proved it . . . anybody lucky enough to be in the audience can expect to be delicately, magically drawn into an intimate sound-world vibrating with the exotic musical colours of Spain, Latin America and Greece . . . Part of the reason Karadaglic has such a large following, unprecedented for a serious classical musician, is his ability to straddle both hardcore classical and pop classical camps.

. . . [a] poised delivery of standards . . . the delicate trills of Mangoré's "Un Sueno en la Floresta", like an insect skating across water, confirm his featherlight command of his instrument.

. . . a musician undeniably made for photoshoots but also one who possesses extraordinary expressive subtlety, grace and a range of tonal colour that is as apt as beguiling. This new Latin American programme . . . is outstanding in its finesse, warm sensuality and sheer beauty.

He doesn't disappoint with his sophomore effort . . . Milos' sense of pacing and his technical ease place the focus on melody. He teases out the intricate accompaniment patterns and intensifying repeated chords in Villa-Lobos' Prelude No. 1 and smoothly navigates the protracted tremolo effects of virtuoso pieces by Barrios Mangoreé. His pliant, poignant interpretation of Cardoso's "Milonga" is also a highlight.

. . . [an] excellent orchestra . . . Karadaglic is a guitarist of superior musical and technical gifts who allows his personality to sing through the music with taste and intelligence . . . [there is] much to enjoy here for the most discerning aficionados, such as a fresh, sensitive account of Barrios's "Una limosna por el amor de Dios" and a very sexy "Mazurka-Choro" [by Villa-Lobos] . . . "Latino" is just so good that it deserves the widest possible audience . . . I loved every minute of it.

The young Montenegrin classical guitarist takes a charismatic tour through Latin American and Mediterranean music . . . The selections are varied, disarming and colorful, and Milos, as the guitarist is known, plays everything with a fine blend of flair and subtlety.

The selections are varied, disarming and colorful, and Milos, as the guitarist is known, plays everything with a fine blend of flair and subtlety.

. . . what a treasury this finger-pickin' instrumentalist performs with the subtlety, grace, flair and tonal colour with which he so emphatically imbued [his first album] "The Guitar". Tangos, Brazilian dances and works that vary from Chopin-like classicism of Villa-Lobos' Mazurka-Choro to the feathery trills of Mangore's "Un Suena en la Floresta" reveal Milos' total command of his instrument. Emphatically accompanied by the Studio Orchestra of the European Film Philharmonic, Milos' interpretation of these gems from the guitar's heartland deserves every aficionado's attention.

Es atmet den heißen Süden ganz unverblümt und ist doch kunstvoll kitschfrei . . . einer der großen jungen Gitarrenstars . . . [Milos leitet] seine Entdeckungsreise mit großem atmosphärischen Charme.

. . . Milos Karadaglic ist ein Meister auf seinem Instrument . . . Er spielt hervorragend! . . . [Milos Karadaglic zeigt in besonderem Maße,] was er kann: mit den Fingern der rechten Hand eine flirrende Tremolo-Melodie zupfen und gleichzeitig eine ruhige, traurige Begleitung dazu spielen . . . Milos Karadaglic bringt auf seiner neuen Platte so manch einen Edelstein zum Glänzen, spielt facettenreich. Und dabei vermittelt er auch in den schnellsten Passagen eine gewisse Ruhe und Überlegenheit. Seine Tempi halten Maß, auch wenn sie schwer beeindrucken . . . Eine überzeugende musikalische Gelassenheit ist das Ergebnis . . .

. . . simpel, aber doch mit Suchtpotential . . . [Milos Karadaglic] ist der große Star der klassischen Gitarre -- ein Stern, der selbst außerhalb der Klassikbranche noch als Lichtpunkt am überstrahlten Himmel der Pop-Charts zu sehen ist . . . Milos ist ein großer Musiker, weil er klein musiziert . . . Manuel Maria Ponces "Scherzino mexicano" etwa ist ein schlichtes Stück voll sich ähnelnder Phrasen. Aber unter der glatten Fassade entdeckt Milos Unruhe und Furcht. Er vermittelt das mit einem etwas zittrigen Anschlag. Mehr braucht es gar nicht. Das Präludium Heitor Villa-Lobos' lässt er mehrstimmig erscheinen, ein Duett für eine Hand. "Es klingt, als müsse man einen Bogen haben, um das zu spielen", sagte Villa-Lobos mal dazu. Aber das stimmt natürlich nicht: Es klingt, als bräuchte man zwei Bögen. Oder eine rechte Hand, wie Milos Karadaglic sie hat.

. . . erneut hat er Verführerisches in höchster Qualität zusammengestellt . . . herrlich gefühlvolle Stücke . . . "Ich vergöttere diese Musik. Sie erlaubt mir, alle Gefühle auszudrücken, die ich in mir habe." Und das gelingt ihm prächtig. Ein Traum, der jeden Sommerabend zu einer Reise werden lässt.

. . . le guitariste Milos affirme une virtuosité intérieure, portée vers les chants de l'âme . . . l'interprète affirme un superbe tempérament doué d'élégance et de pudeur . . . L'évidente agilité digitale, la maturité de l'interprète qui sait nuancer, trouvent souvent de très belles couleurs: sa formation à la "RAM" Royal Academy of Music de Londres . . . porte ses fruits et se dévoile dans ce programme plutôt stylé: le célébrissime Prélude n°1 en ses crépitements nostalgiques de Villa Lobos, coule avec une géniale ivresse amère soulignant tout ce que peut y apporter l'inventivité musicale du guitariste . . . Même affinité évidente avec Mazurka-chôro du même Villa Lobos: finesse et subtilité émotionnelles . . . un vrai tempérament musicien: car il a de l'éloquence et une intériorité à rebours des effets tapageurs . . . "le Callas de la guitare", soit un modèle toujours consulté, invoqué, célébré . . . Milos souligne avec un sens des nuances personnel, le déséquilibre et les vertiges d'un air ciselé entre nostalgie et tendresse . . . le talent de Milos, superbe sensibilité jamais démonstrative, déploie élégance, intériorité et mesure: une classe naturelle apprise et cultivée encore en Angleterre . . . Milos y éblouit par une grâce intérieure d'une précision caressante. Son tact et sa délicatesse affirment décidément son immense talent. Virtuose, la guitare est aussi chant de la sensibilité la plus orfévrée. Très beau récital.


About the Album

  • Latino includes new arrangements for solo guitar and string orchestra of favourite Latin hits such as Gardel’s Por una cabeza (popular from the film Scent of a Woman), Piazzolla’s classics Libertango and Oblivion, and the folk hit Quizás, Quizás, Quizás

  • Solo tracks include Villa-Lobos’s Prelude no. 1 (one of Milos’ signature tunes heard in many of his concerts around the world), beautiful tremolo pieces by the ‘Chopin of the Guitar’ Augustin Barrios, and the tango that defines the genre, La cumparsita

Insights

Miloš – A Latino Journey
The guitar occupies such a central place in the music and culture of Latin America that, when it came to making his second solo recording for Deutsche Grammophon, it was almost a natural step for Miloš Karadaglić to cross the Atlantic and travel the length and breadth of the continent in music. As Miloš himself explains: “So much of the most beautiful guitar repertoire comes from the Latin world, and I’ve never made an easier decision in choosing to make it the theme for this disc. With some pieces on the album I went a little bit out of my comfort zone, as I wanted to showcase all the different aspects and facets of this culture.”

Representing the core classical guitar repertoire are solo pieces by Villa-Lobos and Ponce that share a link in the towering figure of Andrés Segovia, for whom both men composed key works. As Miloš points out, “Villa-Lobos is an essential figure in the development of our instrument. In collaboration with Segovia he created works which really challenged the humble nature of the guitar – its technical and musical possibilities, its palette of colour and sheer power.” Miloš makes a telling analogy: “Segovia is to guitarists what Callas is for singers. He created a new sound world, and helped the guitar to win new admirers and earn respect as a solo instrument equal to any other on the international concert platform.”

Villa-Lobos’s Five Preludes of 1940 – the first of which is heard here – followed on from the Twelve Studies that the composer wrote expressly for Segovia after their first meeting in Paris in the 1920s. “Here Villa-Lobos treats the guitar as if it were a cello – the melody is in the bass, rich, sustained and legato. It sounds as if you would need a bow to play it with! It is one of the best-loved pieces from the guitar repertoire and one that I have performed for many years.” The “Mazurka-Chôro”, in contrast, dates back to an earlier stage in the composer’s developing style, to the Suite popular brasileira of 1912, in which Villa-Lobos merges the “chôro” of Brazilian street musicians with European dances.

Just as composers from Villa-Lobos to Ponce aimed to bring the music of the street into the concert hall, so this collection unites popular and cultivated traditions all the way from Argentina to Mexico. “I always wanted to step into the world of ‘free’ – one with no frames or boundaries, where you can allow yourself to connect with your innermost feelings and musical desires, and communicate them on the most human level. For this disc to be truly Latin, it was very important to play pieces that are close to the people.”

Nothing could be closer to the people than the music that almost defines this world – the tango. For Miloš, the choice is obvious: “Is there anyone in this world who doesn’t like tango? It’s the most beautiful, sensual, erotically-charged dance on the planet and, as such, an essential ingredient for this disc.” The style itself is almost defined by the swooning, seductive Por una cabeza by the “King of Tango”, Carlos Gardel, written in 1935, the year of his tragically early death. Familiar from a host of films, not least the 1992 drama Scent of a Woman, it vies with La cumparsita, composed by the Uruguayan Gerardo Matos Rodríguez in 1917, for the honour of being the tango melody par excellence. The two pieces by Astor Piazzolla, Oblivion and Libertango, are equally classics of the groundbreaking tango nuevo, the more inclusive and evolved style that the Argentine composer developed from the 1950s onwards and that brought him an international audience. As Miloš remembers, “When I was a student at the Royal Academy, everyone was totally mad about Piazzolla, perhaps because his music felt like an escape from the rigours of classical training.” One tango not by a Latin American, but by the French-Tunisian guitarist and composer Roland Dyens, is Tango en skaï: “It is a very cool piece, and I’ve been playing it for many years as an encore in recitals. For me it epitomizes joy.” An arrangement of the Cuban Osvaldo Farrés’s 1947 hit, and a Latin standard, Quizás, quizás, quizás, brings an even more popular note.
The contemporary Argentine composer Jorge Cardoso made his own musical travelogue of Latin America in his 24 Piezas sudamericanas, which ends up in Uruguay with a “Milonga” – an evocation of the precursor to the tango. Here, and in Un día de noviembre by prolific Cuban composer Leo Brouwer, Miloš considers it important “to capture the depth and meaning of the music with simple shapes and forms – where every note is able to reach deep into the psyche of the listener, where the guitar becomes a voice”.

It was the Paraguayan composer Agustín Barrios Mangoré – popularly known as “the Chopin of the Guitar” – who, Miloš says, “brought the technique of tremolo to the highest level of complexity. Un sueño en la floresta and Una limosna por el amor de Dios (also known as ‘El último trémolo’) are two of the most stunning pieces in the whole classical guitar repertoire. Here tremolo becomes secondary to the programmatic nature of Barrios’s musical language.”

One unifying feature of this music for Miloš is its directness: “Latin American guitar music is perhaps even more uninhibited than Spanish.” The point is borne out by the Uruguayan-born Brazilian composer Isaías Sávio’s Batucada, which takes the popular samba style of the Rio favelas and turns it into an uncomplicated, pulsating guitar showpiece, as also by the Argentine-born Jorge Morel’s springy, energetic Danza brasilera, “which”, Miloš admits, “always makes me want to dance to the beat”.

That directness is not at the expense of finesse: Manuel Ponce had a more considered relationship with the musical heritage of his native Mexico, and strikes a note of refinement in the elegant, rhythmically subtle Scherzino mexicano and the “Chanson” that forms the second movement of his Sonata III. Miloš remembers: “When I first saw a video of the great Segovia playing the ‘Chanson’, I was blown away by the emotional impact it possessed. I needed to have it on the CD because it is one of the most profound pieces of music I’ve ever played.”

Kenneth Chalmers
5/2012