SEE MILOŠ LIVE

In addition to their joint guest appearance at the Gstaad Menuhin Festival in July 2024, the dazzling “poster boy” (The World) of the classical guitar, the Londoner from Montenegro, Miloš Karadaglić, can be heard at the KKL Lucerne with the most popular of all guitar concertos, the Concierto de Aranjuez by Joaquín Rodrigo. The rest of the program also takes us to Mediterranean regions in Spain and France: with the fiery orchestral fantasy “Le Boeuf sur le Toit” by Darius Milhaud, the

“Suite popular española” by Manuel de Falla and Claude Debussy’s “Petite Suite”. A light-footed and colorful program about the young up-and-comer who has already taken London’s Royal Albert Hall by storm.

«Mediterranean Night»

Manuel de Falla

Suite popular española (1914). Canciones y Danzas

for string orchestra, orchestrated by Thomas Beijer

Joaquín Rodrigo

Concierto de Aranjuez (1939) for guitar and orchestra

Claude Debussy

Petite Suite L. 65, orchestrated by Henri Büsser (1907)

Darius Milhaud

Le Boeuf sur le Toit op. 58, Orchestral Fantasy

Program subject to change

Call him the classical guitarist of our time, the Montenegro-born Miloš Karadaglić. Impressive technique, expressive playing style – a virtuoso with almost pop star status. He now transforms works by famous Baroque composers such as Handel, Vivaldi, Rameau and Purcell for guitar and ensemble. Well-known music, but in a new guise. His musical efforts have already led to recording contracts with Sony and Deutsche Grammophon.

Music from a Spanish fandango by Boccherini to the gentle lyricism of Purcell’s The Fairy Queen . From contemplative sounds from Rameau’s Les Boréades to a lively concerto grosso by Handel. The English baroque ensemble Arcangelo was founded in 2010. In a short time, it built up an impressive discography and was showered with prizes. The collaboration with MILOŠ is a golden opportunity and will certainly lead to the necessary awards again.

Familiar with the greatest concert halls and curious to explore very broad repertoires, guitarist Miloš has teamed up with the formidable Arcangelo ensemble, and its conductor Jonathan Cohen (already well known at the OPRL!), for a dive into the heart of the baroque. Starting with a transcription of Bach’s Chaconne , the cornerstone of the program, he travels across countries, from Rameau to Vivaldi, from Purcell to Boccherini, alone or accompanied. The opportunity to revisit some great contrasting hits and the chiaroscuro of the baroque, seen through the expressive prism of the guitar, thanks to the charisma of one of its most prominent representatives.

Milos, a rising star in the guitar world who appeared in 2011 and captivated audiences with his recitals at Kobe College Small Hall in 2012 and 2014, is returning to the Arts and Culture Center for the first time in 11 years!
The focus of this program is Baroque. JS Bach’s “Chaconne,” Barrios’ “Cathedral,” the most important repertoire for classical guitar, and Albéniz’s “Asturias,” which Milos has a deep attachment to and says “the piece that determined the direction of my life.” You can fully enjoy Milos’s rare technique and innovative creativity. Not only solo but also with prestigious orchestras, he is well versed not only in classical music but also in jazz, flamenco, world music, and contemporary music such as the Beatles, deepening the possibilities of classical guitar. – It’s a fulfilling time, so please look forward to it!

Programme

• Programme to include
• Leo Brouwer 3 Danzas Concertantes
• Malcolm Arnold Serenade
• Rudolph Straube Sonata No.3
• Astor Piazzolla Bordel, Oblivion, Libertango
• Radames Gnatali Suite Retratos (selected movements)

Performers

• Miloš Karadaglić guitar
• Ksenija Sidorova accordion

Artists

• MILOŠguitar
• Ksenija Sidorovaaccordion

The composers on this programme were and are, like MILOŠ, globetrotters, always curious to draw inspiration from new cultures to enrich their imaginations. Silvius Leopold Weiss, for example, was a German musician who passed through the courts of Rome, London and Prague, where he developed such a gift for improvisation on the lute that he is said to have equalled the great Johann Sebastian Bach in this field. Around the same time in France, Rameau composed The Arts and Hours, a suite of dances and instrumental movements that evoke different emotions and scenes from daily life, while Scarlatti drew inspiration from his travels at the court of the Princess of Essex in Spain to write these two Sonatas, incorporating elements of Flamenco, but also daring harmonies that maintain tension throughout the score, from dynamic contrasts to contemplative melodies. Another journey, this time through mathematical abstraction, in Les Barricades mystérieuses, where François Couperin uses trompe-l’œil sound effects to conceal a system of interlocking elements evoking fractal figures within the simple verse-chorus form. As well as works by Handel, Bach and Albeniz, MILOŠ makes a foray into the 20th century with a piece by Mangoré, which blends Chopinian lyricism with traditional Paraguayan music, and a transcription of the Beatles’ gem Blackbird. Amor Fati, by Frenchman Mathias Duplessy, is inspired by a concept of Friedrich Nietzsche’s, which invites us to “love life in its entirety, with the good and the bad things, to take life with all our soul under the light or under the storm, to love life as it is…”.  

He is the face of the clarinet worldwide, and one of the most striking personalities in the contemporary music world: Martin Fröst, winner of the Léonie Sonning Music Prize alongside, for instance, Igor Stravinsky and Sir Simon Rattle, has also been artist-in-residence at institutions as prestigious as Amsterdam’s Concertgebouw, and has been one of the Verbier Festival’s most loyal and appreciated musicians for many years. From the celestial asceticism of Johann Sebastian Bach to the heroic madness of Lutoslawski, via the springtime joy of Brahms, Martin Fröst builds an intimate and very personal reflection around his instrument and his activity as a concert performer. And he has surrounded himself with hand-picked personalities who are close to his heart and have played an important part in his development as an artist: guitarist MILOŠ, whose appetite for the most varied of repertoires could not fail to satisfy Fröst’s devouring curiosity; Marc Bouchkov, whose imaginative fantasy is matched only by that of the clarinet master; and Anastasia Kobekina, the revelation of the last decade.