Musical Over Dose
is proud to present
Rls Name : Milos - Mediterrßneo
Rls Date : Jul-13-2011
Rls Type : Album
Company : Deutsche Grammophon GmbH
Genre : Pop
Source : CDDA
Tracks : 17
Total Time : 65:35 min
Size : 80,1 MB
URL : n/a
Encoder : LAME 3.98.4 -V 0
Quality : VBR kbps / 44.1kHz / Joint-Stereo
Bitrate : avg. 170kbps
01. Suite Espa±ola, Op.47 No.5 Asturias 06:31
02. Recuerdos De La Alhambra 03:47
03. Suite Espa±ola, Op.47 No. 3 Sevilla 05:12
04. Lagrima 02:05
05. Jeux Interdits 03:02
(Spanish Romance) Arranged By Chris Hazell
06. Adelita 01:48
07. Suite Espa±ola, Op.47 No.1 Granada 05:53
08. Koyunbaba, Op. 19 1. Moderato 03:32
09. Koyunbaba, Op. 19 2. Mosso 01:19
10. Koyunbaba, Op. 19 3. Cantabile 03:31
11. Koyunbaba, Op. 19 4. Presto 03:40
12. Epitaphs 3. A Day In May 03:08
13. Epitaphs 4. You Have Set, My Star 02:22
14. Capricho Arabe Serenata 05:40
15. Catalan Folk Songs El Testament D'amelia 02:25
16. Danzas Espa±olas, Op.37 No.5 Andaluza 05:15
17. Danzas Espa±olas, Op.37 No.2 Oriental 06:25
____________
65:35 Min
"The music on this recording reflects my character. It tells the
listener who I am," says 28-year-old guitarist Milos Karadaglic'. As
one would expect of a citizen of tiny, turbulent Montenegro, whose
career was set in motion by an audacious decision to come to London,
that character is marked by a rare single-mindedness. Milos's love
affair with the guitar began when he was eight and his father played
him a recording of Segovia making magic with Albeniz's Asturias.
Armed with the family's dusty old guitar (missing some strings),
Milos was enrolled at a specialist music school, where in six months
he learned all its teachers had to impart. Such quick progress
prompted the school to put him in a different class, one that used
the rigorous Fernando Sor method. At nine he gave his first public
performance and at eleven entered (and won) his first national
competition and, on the same day, also won a singing competition.
Subsequently, Milos became a star performer on television and radio,
took guitar master classes in Belgrade and then, at the age of 16,
followed his childhood dream and decided to audition for a place at
the Royal Academy of Music in London.
The timing was poignant - NATO's bombing of his region had just come
to an end. When he phoned the Academy he was told that applications
for the following academic year were closing. "So while my parents
were at work, I found myself filming my favorite pieces, one at a
time, five days in a row, in our living room." He was accepted on a
scholarship. "Everyone back home was so supportive and proud of my
success, and when I finally arrived in London, I was terribly
homesick. But, at the same time, I was suddenly surrounded by superb
teachers in a fabulous institution - at last exposed to the world. It
very quickly felt as if someone had given me wings and I could fly."
Though Milos in his teens had made John Williams his exemplar, in his
early 20s Julian Bream became his main influence. "His sound and
technique were very different from mine, but listening to his
recordings was inspirational on every level. He was an amazing
musician... When I later received the Julian Bream Prize from his own
hands, it was such an honor." Milos's artistry is reflected in his
attitude toward public appearances: "When I'm performing, it's close
to dreaming for me - afterwards I don't remember much about it. I
just remember feeling very well, with a high level of energy and
emotion. Each day I try to find new colors and timbres." The colors
and timbres to be found in this album have been dictated by his
desire to reflect the rich musical ambiance he was born into, with
influences from both the eastern and western ends of the
Mediterranean. "Montenegro itself," he says, "is at a cultural
crossroads, which is why the music I grew up with is so interesting
and diverse."
Albeniz's Asturias earns its place because of Segovia and "because,
no matter how young or old I have been, it has always been a
challenge - it allows me to express my character to the extreme.
Sevilla is so incredibly exciting that it always makes me want to
dance. But, whenever I play his Granada, right from the first phrase
it feels like I am falling in love. It reminds me of the heat and
salt of the Mediterranean."
Many of the pieces here were originally written for piano, yet they
sound entirely natural on the guitar. Granados's Andaluza had
previously been arranged for the instrument, but Milos and his mentor
Michael Lewin of London's Royal Academy have made their own version
of it, as well as this composer's Orientale. As Milos explains, "It's
challenging because while the accompaniment is smoothly arpeggiated
in the bass, the melody in thirds comes in on top. Putting it on to
one guitar was very exciting."
Karadaglic' doesn't have much personal connection with Greece, "but
when I heard Mikis Theodorakis's A Day in May I started to cry. It
talks about political upheaval and loss of a loved one. A few years
ago my uncle lost his only son and I wanted to dedicate this piece to
him. Performing this song always makes me feel very emotional. It
reflects a time of hardship, and that too is a big part of who I am."
The work which reflects the biggest part of Milos's story is the
Italian guitarist-composer Carlo Domeniconi's 1985 suite Koyunbaba:
"I heard it for the first time when I had just arrived in London.
With its Turkish folksong theme, and magical soundworld, it brought
back all those memories and places I had left behind. Whenever I play
it, it is different, like the sea itself, sometimes calm, sometimes a
storm..."
Since Francisco Tßrrega was the father of the modern Spanish guitar,
pieces by him were de rigueur. "They tell us so much about this
amazing box with six strings," he smiles, adding, "From the famous
Recuerdos de la Alhambra to Lßgrima and Capricho ßrabe, all the works
on the album are so pure and magical. At the same time they speak
equally to the most educated classical musician and the man on the
street. This is the beauty and true essence of the classical guitar."