PROGRAM: MILOŠ

Wednesday, August 6, 2014 / 7:30 pm / Bing Concert Hall

PROGRAM

Fernando Sor: Grand Solo in D, op. 14 (publ. ca. 1810–1823) Joaquín Rodrigo: Invocación y danza (1961)

Johann Sebastian Bach: Lute Suite BWV 997 (ca. 1740-1741) Praeludio Fuga Sarabande Gigue Double MILOŠ *INTERMISSION* Roberto Gerhard: Fantasia (1957)

Enrique Granados: Danza Española No. 5, Andaluza (ca. 1888-1890), arr. Michael Lewin

Enrique Granados: Danza Española No. 2, Orientale (ca. 1888–1890), arr. Michael Lewin

Manuel de Falla: Danza del molinero from El sombrero de tres picos (1916–1919), arr. Michael Lewin; Homenaje: Pour Le tombeau de Claude Debussy (1920); Danza Española No. 1 (1913), arr. Michael Lewin

Carlo Domeniconi: Koyunbaba, op. 19 (1985) Moderato Mosso Cantabile Presto

ARTIST Miloš Karadaglić, Guitar

Mr. Karadaglić appears by arrangement with IMG Artists, 152 W. 57th St., 5th Floor, New York, NY, 10019.

Program subject to change. Please be considerate of others and turn off all phones, pagers, and watch alarms, and unwrap all lozenges prior to the performance. Photography and recording of any kind are not permitted. Thank you.

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folk song and flamenco. Gerhard initially wrote the piece, his only work for solo guitar, as an intermezzo to be played during a performance of Seven Spanish Songs, which he had written in 1956 for voice and guitar.

The 12 Danzas Españolas (12 Spanish Dances) by Enrique Granados (1867– 1916) precede his masterpiece, the piano cycle . Granados, also Catalan, by birth if not by ancestry, began to publish the collection in the 1890s while establishing a reputation as a . Much of his piano music, 11 stage works, and songs include music derived from the rhythms of Spanish folk song. Improvisation, too, lies at the heart of some of his finest music, such as the melancholy, reflective, and intensely romantic Orientale, the second of these Spanish dances.

Selected Program Notes Invocación y danza (Invocation and With sets and costumes designed by The 65 guitar works by the Barcelona- Dance), Rodrigo adopts the French Pablo Picasso and choreography by born Catalan composer Fernando Sor tradition of the musical homage in his Léonide Massine, the full-length ballet (1778–1839) form a key part of the own tribute to his fellow countryman El sombrero de tres picos (The Three- repertory. The Grand . As in the Falla Cornered Hat) by Spanish composer Solo in D, op. 14, was published in Homenaje, which Rodrigo quotes, Manuel de Falla (1876–1946) was both Paris and Sor’s adopted home of the mood in this substantial one- a triumph at its 1919 premiere in London during the peak of his success as movement piece is primarily melancholic London by Sergei Diaghilev’s Ballets a composer of guitar music, ballet, song, and inward looking, though the Russes. The music had already brought and popular music. An introduction gestures are frequently emphatic. Falla considerable success as a staged in the minor key gives a hint of things pantomime. Now, with full orchestra, to come. This opens into a vigorous More than a century later, the deeply Falla’s music provided Massine with one theme full of energy and vitality—in felt heritage and ideals of Roberto of his most famous ballets and a dance, complete contrast with a lyrical second Gerhard (1896–1970), another the Danza del molinero (The Miller’s theme and its variants, which are Catalan composer, led to his exile in Dance). Massine continued to perform drawn straight from the opera house. England for the last 30 years of his onstage to the assertive rhythms and An extended coda turns the movement life. By nature, Gerhard celebrated idiomatic Spanish atmosphere of this into, in effect, a fine concert overture. the vitality of Catalan folk song. By dance until the end of his long career. nurture, however, he spent much of The music of Spanish composer Joaquín his later years exploring the potential Falla wrote his only piece for guitar— Rodrigo (1901–1999) travels well of post-Schoenberg serialism in a a short, reflective Homenaje (Homage) beyond the Aranjuez of his earliest series of abstract orchestral works, to Debussy—the following year. He and best-known concerto, written which were at the leading edge composed it in Granada, and in it, in 1939. His long journey (he was of musical modernism. His short he pays tribute to Debussy’s piano 98 when he died) took him through Fantasia for solo guitar marries the piece Evening in Granada (Estampes), 170 compositions in many genres, 11 discipline of his formal composition drawing on its habanera rhythm and of which are concertos. In his 1961 with the gestures and inflections of opening sigh-like motif and, toward

24 Stanford Live Magazine JULY/August 2014 the end, employing a direct quotation Mr. Karadaglic´ the prestigious evening of classical music, the guitar from the French composer he admired. Gramophone Award for Young Artist itself was the breakout star here—a of the Year. An exclusive Deutsche sleight of hand that makes Karadaglic´ Granada is also the setting for Falla’s Grammophon recording artist, Mr. not only a magician, but a serious short opera La vida breve (The Karadaglic´ released his second album, and accomplished musician.” Brief Life), the earliest of his mature Latino (Pasión), in 2012 and went works. Its characters inhabit an on to receive both Classic Brit (U.K.) Mr. Karadaglic´’s passion for the emotional world full of joy, sorrow, and Echo Klassik (Germany) awards. guitar is matched with an intuitive dancing, and the agony of a broken love Reviewing the album, Gramophone sense of how to bring the instrument affair. The popular Danza Española commented, “Karadaglic´ is a guitarist across to his public, whether for an No. 1 is drawn from the opera. of superior musical and technical audience of 3,000 in the Royal Albert gifts who allows his personality to Hall or an intimate Italian by birth, German by training sing through the music with taste and performance for 100 people. He (he lives in Berlin), and adopted intelligence.” The Daily Telegraph enjoys performing in the major concert Turkish through marriage, guitarist added, “This new Latin American halls as much as in nontraditional and composer Carlo Domeniconi (b. program is outstanding in its finesse, venues, such as New York’s Le 1947) has written music based on warm sensuality, and sheer beauty.” Poisson Rouge, London’s Roundhouse several different cultures. But it is his (iTunes Festival), and Deutsche 1985 composition Koyunbaba that has Latino proved so successful that it Grammophon’s Yellow Lounge club defined his success. Domeniconi taught was subsequently rereleased as Latino nights in London, Berlin, Amsterdam, guitar at the Istanbul Conservatory Gold, which featured 30 minutes of Madrid, New York, and Seoul. during the 1970s and based the newly recorded tracks from a wealth evocative four-movement piece on of Latin American–inspired music. The 2013–14 season promises to take the traditional music he heard there. Meanwhile, Miloš: Heartstrings, Mr. Karadaglic´ to new heights with A song, “Uzun nce bir yoldayim” (“I a documentary filmed throughout extensive tours throughout Europe, Travel a Long and Narrow Path”), is 2012 that charts the guitarist’s story North America, and the Middle East; heard at the beginning of Koyunbaba, to date, was released on DVD and in recitals and concerto performances; and it forms an underlying motif in all aired on numerous TV stations. and with appearances at prestigious four movements. The sounds of the festivals, such as Cheltenham (U.K.), bagˇlama or saz, the Turkish lute, are The breakthrough year on the concert Ravinia (U.S.), Gstaad (Switzerland), echoed. The music ranges widely from stage for Mr. Karadaglic´ was 2012–13 Rheingau (Germany), and Mecklenburg- the reflective, improvisatory opening with sold-out debut performances Vorpommern (Germany). His much movement to the whirling, hypnotic and tours around the word. “Part anticipated third album on Deutsche repetitions of the finale. “Koyunbaba of the reason Karadaglic´ has such a Grammophon/Mercury Classics will uses very difficult techniques that make large following,” commented the West be released in July 2014 and includes the instrument almost not sound like a Australian, “is his ability to straddle Rodrigo’s Concierto de Aranjuez and guitar anymore,” Miloš says. “I always both hard-core classical and pop Fantasia para un gentilhombre, recorded feel like I’m in a trance when I play it.” classical camps.” This was echoed with Yannick Nézet-Séguin and the —© 2014, Keith Horner by the London press following his London Philharmonic Orchestra. celebrated Royal Albert Hall debut, about which the Guardian commented, Born in Montenegro in 1983, MILOŠ “More extraordinary by far, however, Mr. Karadaglic´ first started playing One of the hottest properties in classical was the way a single guitarist, playing the guitar at the age of eight. He uses music, Miloš Karadaglic´ came to an intimate and understated set, and D’Addario J46 strings and plays a 2007 international attention in 2011 with his equipped with a single microphone Greg Smallman guitar, kindly lent to debut album, The Guitar (Mediterráneo). and some clever lighting, could him by Paul and Jenny Gillham. • In the span of just a few months, the shrink the Hall’s cavernous space into album topped classical charts around something so close.” The Independent the world, became an international concluded, “Defying its many critics best-selling sensation, and earned to offer a dramatic and rounded

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