13th January: Last week’s top re-entries The Classical Album and The 50 Greatest Pieces of Classical Music switch around, at no. 1 and no. 2, and Renée Fleming’s new album is the highest new entry at no. 8.
Miloš Karadaglic, one of the most talented and incredible exponents of the classical guitar to have emerged in recent years, has spoken exclusively to Classic FM about his forthcoming album, Latino.
While his debut album, Mediterráneo, saw the highly acclaimed Karadaglic drawing from influences close to his home in Montenegro, Latino finds the guitarist casting his net wider in the direction of South America in search of new influences.
But despite the geographic spread, Karadaglic believes that music comes full circle in terms of one continent influencing another.
“The guitar went to South America and became part of the folkloric landscape and it started to become the music of the people,” he tells Classic FM.
“Then, when you think about classical guitar of the 20th century, probably some of the most influencing composers for the development of the instrument were coming from South America – [Alberto] Ponce, [Agustín] Barios, [Heitor] Villa Lobos – these are the guys who wrote pieces which were challenging the technique and challenging the possibilities of the instrument and helped Sergovia become who he was and continued with Julian Bream and John Williams and so on.”
For Karadaglic, the music produced for Latino offers him a sense of security that may not have been previously obvious.
He explains: “To play this music really was like being at home for my instrument and really like being home for me because this is the part of the repertoire that I always adored and which was always consisting of my favourite pieces in the whole world.”
To the 29-year-old’s mind, the music of Latino does much to break down musical barriers rather than reinforce them and he believes that this approach could do much to benefit the European ear.
“When you do a theme like Latino and the South American Latin music, the boundaries between styles - between street music and between classical music, between tango and between samba, between these folkloric street pieces - are very thin,” he asserts.
“In South America, music is one big thing and music is a universal thing for everybody so classical guitar can be loved by everybody; tango can be danced by everybody; samba can be danced for everybody. Latino really taught me and made me realize how wonderful that it and how much we should all appreciate it here in Europe.”
A persuasive argument to be sure and one made all the more stronger in the potent form of Miloš Karadaglic’s Latino.
Listen to the full interview with Miloš below.