18 PLAYBILL Friday, February 21, 2020, 8pm First Congregational Church MILOS˘ with members of 12 ensemble 12 ensemble Eloisa-Fleur Thom and Alessandro Ruisi, violins; Matthew Kettle, viola; Max Ruisi, cello; Toby Hughes, double bass The Voice of the Guitar Johann Sebastian BACH (1685–1750) Goldberg Variations Luigi BOCCHERINI (1743–1805) “” from Guitar Quintet No. 4 in D major, G. 448 Enrique GRANADOS (1867–1916) From 12 Spanish Dances for Solo Guitar, Op. 37 No. 5, Andaluza No. 2, Oriental Manuel DE FALLA (1876–1946) “Dance of the Miller (Farruca)” from The Three-Cornered Hat DE FALLA “Nana” from Seven Spanish Folksongs Isaac ALBÉNIZ (1860–1909) Asturias Anonymous Spanish Romance (1921–1992) Libertango INTERMISSION Heitor VILLA-LOBOS (1887–1959) Prelude No. 1 Emilio PUJOL (1886–1980) Milonga Isaías SÁVIO (1900–1977) “Batucada” from Escenas Brasileiras PIAZZOLLA Caffe 1930 Paul SIMON (b. 1941) The Sound of Silence and Art GARFUNKEL (b. 1941) Radiohead Street Spirit (Fade Out) John LENNON (1940–1980) Yesterday and Paul MCCARTNEY (b. 1942) Eleanor Rigby The Fool on the Hill George HARRISON (1958–2001) Here Comes the Sun

This performance made possible, in part, by Liz and Greg Lutz. Cal Performances’ 2019–20 season is sponsored by Wells Fargo.

Opposite: photo by Lars Borges, Mercury Classics 17 PROGRAM NOTES

Th is concert is a journey through music and Rocha played an important role in Miloš’ edu- time. It uses the and its unique cation at the Royal Academy of Music and in- voice as a vehicle, and while the names of some spired these repertoire choices, and Professor of the on this program may be unfa- Michael Lewin transcribed both works for Miloš. miliar, the music itself will oft en be much better “Andaluza,” as the name suggests, explores the id- known. Th e music of more familiar composers iomatic language of fl amenco, while “Oriental” will draw on Miloš’ classical training at the Royal creates a magical nocturnal feeling. Rarely per- Academy of Music, while other pieces will show- formed on solo guitar, these transcriptions push case the link to his early training in Montenegro the boundaries of capabilities and expressive pos- and his interest in the guitar as an instrument sibilities of the instrument. that is an intrinsic part of the Mediterranean en- vironment in which he grew up. In those early Manuel De Falla days, Andrés Segovia had an immense infl uence “Dance of the Miller (Farruca)” on Miloš and much of this program demon- from Th e Th ree-Cornered Hat strates his subsequent devotion to the music of It was the great impresario Sergei Diaghilev who Latin America and the expansion of the technical was behind De Falla’s ballet Th e Th ree-Cornered and expressive qualities of the instrument. Hat, which was inspired by Pedro Alacon’s Concluding the program, Miloš showcases story “El Corregidor y la Molinera.” Th e story his latest project with the music of Th e Beatles, centers on a magistrate who tries to seduce a as well as works from his fi ft h studio album, re- miller’s faithful wife. From Act 2, the “Dance of leased in September 2019, Sound of Silence. the Miller” is in the traditional fl amenco form “farruca,” which is traditionally danced by men only. Th is orchestral and energetic piece sounds SELECTED PROGRAM NOTES very powerful when performed on the solo guitar. Aft er all, as Segovia once said, with all Luigi Boccherini its colors and sounds, the guitar is indeed like a “Fandango” from Guitar Quintet No. 4 miniature orchestra. in D major, G. 448 Italian born, Boccherini spent most of his adult Anonymous life in Spain and the infl uence of his adopted Spanish Romance country is refl ected in much of his music, includ- Miloš once said that this was the fi rst piece he ing the famous Fandango from this quintet for ever played live, when he was eight years old. It guitar and strings. Boccherini specifi ed the use is one of the most recognizable melodies ever of in his original version to add to the written for this instrument, although the author- local color. ship has been much questioned, with suggestions that it might have been composed by Tárrega, Enrique Granados Fernando Sor, or Narciso Yepes. It also appears “Andaluza (No. 5)” and “Oriental (No. 2)” under various titles, including Anonymous from 12 Spanish Dances for Solo Guitar, Op. 37 Romance, Spanish Romance, and, simply, Granados belongs to the group of Spanish com- Romanza. Yepes played it on the soundtrack for posers that fully embraced the Spanish national- René Clément’s 1952 fi lm Jeux Interdits, thus giv- ist style. Although he never wrote a guitar piece ing the work yet another title. during his life, his works are oft en transcribed for the instrument. In the case of “Andaluza,” it’s hard Astor Piazzolla to imagine the piece played on anything other Libertango than the guitar. (As with “Oriental,” however, it Piazzolla was the leading Argentinian was originally written for the piano.) and bandoneon player in the 20th cen- Studying the recordings and performance tury and his fame has expanded even further in style of the great Spanish pianist Alicia de la the 21st century. He revolutionized tango with

17b PLAYBILL PROGRAM NOTES his Tango Nuevo style and turned it into a high genres and straddles the worlds of classical and art form. Piazzolla regularly performed his own mainstream. Th e challenge with these amazing works with diff erent ensembles, touring through- songs is to respect their own truths, while giving out the world. Libertango was recorded and pub- them a new life through a diff erent medium. Th e lished in Milan in 1974; the title simply merges key is simplicity.” the Spanish word for “liberty” with “tango.” Lennon–McCartney: Eleanor Rigby Heitor Villa-Lobos Lennon–McCartney: Th e Fool on the Hill Prelude No. 1 George Harrison: Here Comes the Sun In interviews, Miloš has said that “Villa-Lobos Tony Award-winning orchestrator and com- is an essential fi gure in the development of our poser Christopher Austin, a friend of Miloš’ from instrument. In collaboration with Segovia, he his student days at the Royal Academy, has con- created works that really challenged the hum- tributed the string for these three ble nature of the guitar—its technical and mu- iconic songs. Th e harmonics in the opening of sical possibilities, its palette of color and sheer “Here Comes the Sun” remind one of the noise power.” Th e Five Preludes were composed in of the crickets on a hot summer’s day. “Th e Fool 1940 for Segovia. “Here Villa-Lobos treats the on the Hill” transforms into a rhapsodic and guitar as if it were a cello—the melody is in the emotional tour de force, while “Eleanor Rigby” bass, rich, sustained, and legato. It sounds as if explores relentless pulse and drama. you would need a bow to play it. It is one of the best-loved pieces from the guitar repertoire and MILOŠ one that I have performed for many years.” “Love at fi rst listen” is how Miloš describes the moment when, as a child in Montenegro, he fi rst Isaías Savio picked up the old guitar that was lying around, “Batucada” from Escenas Brasileiras gathering dust in his childhood home. Mon- Although born in Uruguay, Savio lived in tenegro in the early 1990s was not an obvious from 1931 onwards, teaching guitar and eventu- gateway to future success, so his family was only ally taking on Brazilian citizenship. He played a cautiously supportive when, aged 14, Miloš de- leading role in establishing the guitar tradition in cided to attend a specialist music school rather his adopted country. Th is is one of his most fre- than a grammar school. Leaving the Balkans and quently performed works. Miloš has oft en spo- arriving in London to take up a coveted place at ken of the directness of Latin American music, the prestigious Royal Academy of Music was, he describing it as much more free and uninhibited says, “a bit like going to Mars. I was clueless.” than that of Spain. Th is work provides clear evi- Fast forward to 2010, when Miloš signed dence for this. It is based on the Brazilian samba his fi rst record deal, with the classical label tradition, providing a pulsating guitar showpiece. Deutsche Grammophon; before long, he was in high demand as a soloist with international or- Miloš on Th e Beatles chestras and in recitals. Miloš appeared in some Aft er delighting audiences with his exploration of the most important concert halls and at major of the core-classical heritage of the guitar in his festivals around the world, while continuously three previous albums, Miloš made a thrilling topping music charts with his hugely successful new departure. He performed and recorded recordings. One of the highlights from that pe- innovative new arrangements of songs by Th e riod was his solo guitar recital—the fi rst of its Beatles, collaborating with celebrated artists kind and much lauded by the critics—to a full of various genres. Together with Sergio Assad, house at London’s Royal Albert Hall. Miloš explored the entire Beatles catalogue, col- Miloš’ early albums, Mediterraneo and Latino, lecting the songs that would work best for the were hugely successful, while his 2014 recording classical guitar. “Th e guitar has always been the of Rodrigo’s concertos with the London Philhar- instrument that most comfortably transcends monic and Yannick Nezet-Seguin had the Sun-

18 ABOUT THE ARTISTS day Times calling him “Th e King of Aranjuez.” Th e12 ensemble is a pioneering string orchestra His 2016 record, Blackbird – Th e Beatles Album, rapidly developing a reputation as one the UK’s which included duets with Gregory Porter, Tori leading chamber orchestras. A modern, versatile, Amos, Steven Isserlis, and Anoushka Shankar, and virtuosic ensemble, the group is built around was received with unanimous acclaim. a core of 12 of London’s fi nest chamber musi- However, Miloš’ career was almost cut short cians. Always playing without a conductor, the when, at his peak, he was struck down by a ensemble’s world-class performances combine hand injury that left him unable to play. With the energy, excitement, and creativity of a small a new record in development and a major in- group with the breathtaking sound aff orded by a ternational concert tour already booked for the string orchestra. 2017–18 season, Miloš was forced to pull out of Formed in 2012 by artistic directors Eloisa- multiple engagements, with no real sense of if— Fleur Th om and Max Ruisi, the 12 ensemble’s or when—he might recover. He recalls: “It was a unique approach to performing and program- really tough time. Being faced with the question, ming sets the group apart as a revolution- ‘What am I going to do if I can’t be a guitarist?’ ary classical ensemble for the 21st century. It was terrifying. Being a musician is all I have Exploring great music of the past alongside ever known.” groundbreaking new commissions and evolv- Th ankfully, in August 2018, fully recovered ing genres, the 12 ensemble sets itself no limits and mentally as well as physically fi t, Miloš made and reaches diverse audiences with world-class a triumphant return to the stage. Before a crowd performances. Flexible both in spirit and in size, of 6,000 people at the BBC Proms, he performed alongside the core setup of 12 players the group the world premiere of Joby Talbot’s Ink Dark performs in formations ranging from duos to Moon guitar concerto, written specially for him, 23 strings and beyond. with the BBC Symphony Orchestra. Th e 12 ensemble is in demand internation- Committed to commissioning new repertoire ally, recently performing at leading venues in- for the guitar, Miloš joined the NAC Ottawa in cluding the Barbican, Royal Albert Hall, Berlin May 2019 to perform the world premiere of Th e Philharmonie, and Elbphilharmonie, Hamburg. Forest by Howard Shore. Th e concerto was re- Th e group has also made appearances at leading corded and will be released on Decca along with festivals worldwide, including a debut at the BBC the Talbot Concerto later this year. Proms 2019, a residency at the Barbican’s Sound Highlights of Miloš’ 2019–20 season include & Visions festival, and performances in South performances of the Talbot concerto with the Korea and Iceland, plus multiple broadcasts on Atlanta Symphony and Borusan orchestras, solo BBC Radio 3. Its 2018 debut album, Resurrection recitals at London’s Wigmore Hall, the Verbier (including works by Lutosławski and premiere and Rheingau music festivals, as well as the cur- recordings of works by Bryce Dessner and Kate rent major tour of his Voice of the Guitar program Whitley), received wide critical acclaim from with member of the 12 ensemble throughout the publications including Gramophone, Th e S t adr , United States, the UK, and Asia. and Th e Sunday Times. In autumn 2019, Miloš released his fifth Following the success of the recording, the 12 album, Sound of Silence: a musical treasure trove ensemble released its second album, Death & that includes brand new arrangements of classi- the Maiden, in January 2020. With an original cal repertoire, aff ectionate nods to the pop world, of Schubert’s iconic string quartet and collaborations with friends. “Sound of Silence at its heart, the album is a highly charged jour- is my refl ection on that time. It’s a personal scrap- ney through an evolving musical landscape, and book of music that will always have a special features accompanying works by Tavener and meaning to me.” Icelandic band Sigur Ros plus a new commis- For more information, please visit the artist’s sion from the Royal Opera House Composer in website at www.milosguitar.com. Residence Oliver Leith.

18b PLAYBILL