MNV Milos - Mediterraneo-2011-MOD [mnvv2 info]

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Musical Over Dose\r\nis proud to present\r\n\r\nRls Name  :Milos -Mediterrneo\r\n\r\nRls Date  :Jul-13-2011\r\n\r\nRls Type  :Album\r\nCompany  :Deutsche Grammophon GmbH\r\nGenre  :Pop\r\nSource  :CDDA\r\n\r\nTracks  :17\r\nTotal Time :65:35 min\r\nSize  :80,1 MB\r\n\r\nURL  :n/a\r\n\r\nEncoder  :LAME 3.98.4 -V 0Quality  :VBR kbps /44.1kHz /Joint-Stereo\r\nBitrate  :avg. 170kbps\r\n\r\n01. Suite Espaola, Op.47 No.5 Asturias  06:31\r\n02. Recuerdos De La Alhambra  03:47\r\n03. Suite Espaola, Op.47 No. 3Sevilla  05:12\r\n04. Lagrima  02:05\r\n05. Jeux Interdits  03:02\r\n(Spanish Romance) Arranged By Chris Hazell\r\n06. Adelita  01:48\r\n07. Suite Espaola, Op.47 No.1 Granada  05:53\r\n08. Koyunbaba, Op. 19 1. Moderato  03:32\r\n09. Koyunbaba, Op. 19 2. Mosso  01:19\r\n10. Koyunbaba, Op. 19 3. Cantabile  03:31\r\n11. Koyunbaba, Op. 19 4. Presto  03:40\r\n12. Epitaphs 3. ADay In May  03:08\r\n13. Epitaphs 4. You Have Set, My Star  02:22\r\n14. Capricho Arabe Serenata  05:40\r\n15. Catalan Folk Songs El Testament Damelia  02:25\r\n16. Danzas Espaolas, Op.37 No.5 Andaluza  05:15\r\n17. Danzas Espaolas, Op.37 No.2 Oriental  06:25\r\n\r\n____________\r\n65:35 Min\r\n\r\nThe music on this recording reflects my character. It tells the\r\nlistener who Iam, says 28-year-old guitarist Milos Karadaglic. As\r\none would expect of acitizen of tiny, turbulent Montenegro, whose\r\ncareer was set in motion by an audacious decision to come to London,\r\nthat character is marked by arare single-mindedness. Miloss love\r\naffair with the guitar began when he was eight and his father played\r\nhim arecording of Segovia making magic with Albenizs Asturias.\r\nArmed with the familys dusty old guitar (missing some strings),\r\nMilos was enrolled at aspecialist music school, where in six months\r\nhe learned all its teachers had to impart. Such quick progress\r\nprompted the school to put him in adifferent class, one that used\r\nthe rigorous Fernando Sor method. At nine he gave his first public\r\nperformance and at eleven entered (and won) his first national\r\ncompetition and, on the same day, also won asinging competition.\r\nSubsequently, Milos became astar performer on television and radio,\r\ntook guitar master classes in Belgrade and then, at the age of 16,\r\nfollowed his childhood dream and decided to audition for aplace at\r\nthe Royal Academy of Music in London.\r\n\r\nThe timing was poignant -NATOs bombing of his region had just come\r\nto an end. When he phoned the Academy he was told that applications\r\nfor the following academic year were closing. So while my parents\r\nwere at work, Ifound myself filming my favorite pieces, one at atime, five days in\r\narow, in our living room. He was accepted on ascholarship. Everyone back home was so\r\nsupportive and proud of my\r\nsuccess, and when Ifinally arrived in London, Iwas terribly\r\nhomesick. But, at the same time, Iwas suddenly surrounded by superb\r\nteachers in afabulous institution -at last exposed to the world. It\r\nvery quickly felt as if someone had given me wings and Icould fly.\r\n\r\nThough Milos in his teens had made John Williams his exemplar, in his\r\nearly 20s Julian Bream became his main influence. His sound and\r\ntechnique were very different from mine, but listening to his\r\nrecordings was inspirational on every level. He was an amazing\r\nmusician... When Ilater received the Julian Bream Prize from his own\r\nhands, it was such an honor. Miloss artistry is reflected in his\r\nattitude toward public appearances: When Im performing, its close\r\nto dreaming for me -afterwards Idont remember much about it. Ijust remember feeling\r\nvery well, with ahigh level of energy and\r\nemotion. Each day Itry to find new colors and timbres. The colors\r\nand timbres to be found in this album have been dictated by his\r\ndesire to reflect the rich musical ambiance he was born into, with\r\ninfluences from both the eastern and western ends of the\r\nMediterranean. Montenegro itself, he says, is at acultural\r\ncrossroads, which is why the music Igrew up with is so interesting\r\nand diverse.\r\n\r\nAlbenizs Asturias earns its place because of Segovia and because,\r\nno matter how young or old Ihave been, it has always been achallenge -it allows me to\r\nexpress my character to the extreme.\r\nSevilla is so incredibly exciting that it always makes me want to\r\ndance. But, whenever Iplay his Granada, right from the first phrase\r\nit feels like Iam falling in love. It reminds me of the heat and\r\nsalt of the Mediterranean.\r\n\r\nMany of the pieces here were originally written for piano, yet they\r\nsound entirely natural on the guitar. Granadoss Andaluza had\r\npreviously been arranged for the instrument, but Milos and his mentor\r\nMichael Lewin of Londons Royal Academy have made their own version\r\nof it, as well as this composers Orientale. As Milos explains, Its\r\nchallenging because while the accompaniment is smoothly arpeggiated\r\nin the bass, the melody in thirds comes in on top. Putting it on to\r\none guitar was very exciting.\r\n\r\nKaradaglic doesnt have much personal connection with Greece, but\r\nwhen Iheard Mikis Theodorakiss ADay in May Istarted to cry. It\r\ntalks about political upheaval and loss of aloved one. Afew years\r\nago my uncle lost his only son and Iwanted to dedicate this piece to\r\nhim. Performing this song always makes me feel very emotional. It\r\nreflects atime of hardship, and that too is abig part of who Iam.\r\n\r\nThe work which reflects the biggest part of Miloss story is the\r\nItalian guitarist-composer Carlo Domeniconis 1985 suite Koyunbaba:\r\nIheard it for the first time when Ihad just arrived in London.\r\nWith its Turkish folksong theme, and magical soundworld, it brought\r\nback all those memories and places Ihad left behind. Whenever Iplay\r\nit, it is different, like the sea itself, sometimes calm, sometimes astorm...\r\n\r\nSince Francisco Trrega was the father of the modern Spanish guitar,\r\npieces by him were de rigueur. They tell us so much about this\r\namazing box with six strings, he smiles, adding, From the famous\r\nRecuerdos de la Alhambra to Lgrima and Capricho rabe, all the works\r\non the album are so pure and magical. At the same time they speak\r\nequally to the most educated classical musician and the man on the\r\nstreet. This is the beauty and true essence of the classical guitar.
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