Miloš: Aranjuez
View record and artist detailsRecord and Artist Details
Composer or Director: Manuel de Falla, Joaquín Rodrigo
Genre:
Orchestral
Label: Deutsche Grammophon
Magazine Review Date: 03/2014
Media Format: CD or Download
Media Runtime: 73
Mastering:
DDD
Catalogue Number: 481 0652DH
Tracks:
Composition | Artist Credit |
---|---|
Concierto de Aranjuez |
Joaquín Rodrigo, Composer
Joaquín Rodrigo, Composer London Philharmonic Orchestra Milos Karadaglic, Guitar Yannick Nézet-Séguin, Conductor |
Fantasía para un gentilhombre |
Joaquín Rodrigo, Composer
Joaquín Rodrigo, Composer London Philharmonic Orchestra Milos Karadaglic, Guitar Yannick Nézet-Séguin, Conductor |
(El) Sombrero de tres picos, Movement: Danza del molinero |
Manuel de Falla, Composer
Manuel de Falla, Composer Milos Karadaglic, Guitar |
Homenaje, '(Le) tombeau de Claude Debussy' |
Manuel de Falla, Composer
Manuel de Falla, Composer Milos Karadaglic, Guitar |
Invocación y danza |
Joaquín Rodrigo, Composer
Joaquín Rodrigo, Composer Milos Karadaglic, Guitar |
Author: William Yeoman
For this, his first orchestral recording, Karadaglić has understandably chosen to tackle what is not only one of the most popular concertos ever written for any instrument but a veritable rite of passage for classical guitarists. In a very traditional coupling, he has also included Rodrigo’s almost-as-popular Fantasía para un gentilhombre; the remainder of the programme is filled out with some of the masterworks of the solo guitar repertoire, one of which - Sor’s Grand Solo, appears on my review download to be an extra, along with Takemitsu’s charming arrangement of Lennon and McCartney’s ‘Michelle’.
But to the Concierto de Aranjuez. Accompanied by a very much on-form London Philharmonic Orchestra under Yannick Nézet-Séguin, Karadaglić opts for clearly defined paragraphs of great rhythmic precision within which flashing rasgueado and highly articulated passages are beautifully contrasted with fast ultra-legato scales, judiciously balanced multiple-stopping and, especially in the Adagio, a refined cantabile that is never allowed to descend into faux-bathos, as is so often the case here. This is a thoughtful and, I think, durable interpretation that will stand the test of time.
Of the remaining items, while the Fantasía is elegance and charm itself, and while both the Homenaje and Danza del Molinero luxuriate in swathes of orchestral-like colours, it’s in Rodrigo’s Invocación y danza that we find Karadaglić at his soloistic and, yes, elegant best.
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