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Notes & Reviews:

Financial Times, 14th February 2014
The young guitarist comes across as an interpreter of delicacy and meticulousness.

Gramophone Magazine, March 2014
[In the Concerto] Karadaglic opts for clearly defined paragraphs of great rhythmic precision...This is a thoughtful and, I think, durable interpretation that will stand the test of time...it's in Rodrigo's Invocacion y danza that we find Karadaglic at his soloistic and, yes, elegant best.

Chris O'Reilly, Presto Classical, 24th February 2014
[MiloÜ ] demonstrates not only his incredible technique - with effortless sounding runs and trills full of sparkling rhythmic vitality - but also real varieties of colours and musical subtleties. He has a really natural-sounding rubato which is never calculating or forced, but just re-enforces phrasing and subtle harmonic changes...Wonderful playing and a hugely enjoyable disc all round.

MusicWeb International, 15th March 2014
Fans of MiloÜ Karadaglic will need no urging to obtain this third album. Others may do so with confidence, even if they have other versions of one or both of the main works.

BBC Music Magazine, June 2014
MiloÜ 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...this is a thoroughly recommendable beautiful disc.

Notes & Reviews:

Milos Karadaglic's 2014 release on Decca is devoted to the music of Spanish composers Joaquín Rodrigo and Manuel de Falla, offering their most representative pieces for guitar and orchestra and solo guitar. Rodrigo's evocative Concierto de Aranjuez is the most celebrated guitar concerto in 20th century music, followed only slightly in popularity by his Baroque-styled Fantasía para un gentilhombre. Karadaglic frames the program with these essential masterworks, and his performances with Yannick Nézet-Séguin and the London Philharmonic Orchestra are assured and elegant, while the sound of the recordings is as satisfying as any on the market. The middle portion of the album presents three pieces for solo guitar, Falla's Homenaje pour le Tombeau de Claude Debussy and his Danza del Molinero, arranged for guitar from the ballet El Sombrero de tres picos, along with Rodrigo's Invocacion y Danza (Homenaje a Manuel de Falla). 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. ~ Blair Sanderson


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