Consuelo Velázquez: Bésame mucho
Jorge Ben: Más que nada
Antônio Carlos Jobim: The Girl from Ipanema
Armando Manzanero: Somos Novios
Astor Piazzolla: Libertango (Latino GOLD Version)
Gustavo Santaolalla: De Usuahia a la Quiaca (from “The Motorcycle Diaries”)
Anonymous: Spanish Romance
Luigi Boccherini: Quintet for Guitar and Strings no 4 in D major, G 448 "Fandango"
Osvaldo Farres: Quizás, Quizás, Quizás
Heitor Villa-Lobos: Etudes (12) for Guitar, W 235: N° 11 in E minor and N° 12 in A minor - Bachianas brasileiras N° 5 for Soprano and 8 Cellos: Aria "Cantilena"
Maurice Ravel: Boléro
Milos Karadaglic (Guitar), Ksenija Sidorova (Accordion), Anna Prohaska (Soprano), Sérgio Assad/Stephen Goss/Chris Hazell/Juan Carlos Cuello (Guitar Arrangements), Steven Baker (Orchestral Arrangements), Studioorchester der Europäischen FilmPhilharmonie, Christoph Israel (Conductor), English Chamber Orchestra, Paul Watkins (Conductor)
Recording: St. Mary’s Church, Chilham (November 2011 & March 2012), b-sharp Studio, Berlin (February 2012), Meistersaal, Berlin (January 2013) & Holy Trinity Church, Weston, Hertfordshire (November & December 2007) – 46’
Deutsche Grammophon # 001938302
Deutsche Grammophon is proud to announce the third release in a continuing series featuring 2011 Gramophone “Artist of the Year” Montenegro-native, Milos Karadaglic. This young man’s rapid overnight success could be in part due to the universal appeal he generates by bridging traditional classical enthusiasts with those of a ‘pop’ classical bend. Hugging the Adriatic coastline, Karadaglic’s roots lie within the Southern European sector closely associated with a people who possess warmth and passion, hot blood and likely a lucid connect to the Latin culture. A land of previous turmoil and unrest, combined with a peoples’ regional anthropologic tempestuousness only builds the strong case that Milos Karadaglic drives his strings with such tension that it quickly becomes an unbridled excursion and discourse of pleasant distraction. Canción is an amalgam of expressive shading through the album’s vast selection of classical to contemporary composers.
Beginning with Velázquez’s ever-popular Bésame mucho doesn’t necessarily set a tone of expected complacency. Indeed, his The Girl from Ipanema has a fun-loving softness, but Karadaglic soon switches gear, bringing to surface those compositions with opposing yet apposite emotions such as the intense-driven Libertango, a pensively soulful De Ushuaia a La Quiaca, a twin collection of Rodrigo-laden strumming found in Villa-Lobos’ two Etudes, and a refreshingly condensed version of Ravel’s languid Boléro that hits the bull’s-eye with a ‘wow factor.’
Classical to contemporary, composers spanning the centuries, selections within Canción are musically translated by Milos Karadaglic with a creative vibe and musical dialogue in verdant respect.