Miloš Karadaglić

About 3 or 4 years ago I really started to get back into playing music again.  A place that ran workshops on ukelele, classical and blues guitar opened up in Perth and I was attending up to four of these a week.

I bought myself a Framus solid top nylon-stringed guitar and began to plough my way through Debbie Cracknell's classical guitar book.  Shortly after started playing, my teacher Edis, invited me to come along to a day-long workshop he was running.  I was unsure.  "There will be sandwiches".

When I arrived I knew immediately that I was out of my depth.  There was a bunch of older guys from the classical guitar society ruffling their sheet music and discussing the relative merits of classical guitarists Julian Bream and John Williams.  I attempted a joke to endear myself to them.  "Julian Bream is pretty Julian Bream is pretty good, but you've got to give it to John Williams for the 'Jaws' theme alone.good, but you've got to give it to John Williams for the 'Jaws' theme alone".  Tumbleweed. 

Then the guest of honour arrived, Lothian classical guitar virtuoso Simon Thacker.  During the day we each had to play a piece for him and he would give us feedback.  I played my little ditty about a bumblebee with as much skill as I could muster but it felt like I was playing 'chopsticks' for Beethoven. 

Simon was very nice though and gave me tips to reduce tension while performing for a more fluid sound.  He went on to discuss the Alexander technique at length and the importance of a touring classical guitarist of staying injury-free.

Classical guitarists at the top of their game are almost like athletes as well as musicians.  In 2016 when Miloš Karadaglić was just about to promote his 'The Beatles Album' he began to suffer from pain and weakness in his fretting hand.  He had a dark couple of years as he struggled to find the right regime to bring At times Milos seems completely unaware of the audience, closing his eyes in a state of musical bliss, his footrest rocking in time with his leg movements like a wah-wah pedal.his hand and himself back to health.

As Karadaglić takes the stage and launches straight into Bach's 'Lute Partita' suite there is no sense of fear or holding back.  In his black velvet jacket and patent leather shoes, shined to within an inch of their life, he is an almost preternaturally assured performer.  At times he seems completely unaware of the audience, closing his eyes in a state of musical bliss, his footrest rocking in time with his leg movements like a wah-wah pedal.

The second section of the show is given over to two pieces by Spanish composer Enrique Granados.  Miloš performance is very much inspired by Spanish guitarist Andres Segovia in whose hand the guitar became an orchestra in a small wooden box.  During his performance of 'Andaluza' and 'Oriental', Karadaglić evokes a bewildering array of sounds and emotions.  'Oriental' in particular abounds with natural harmonics and Karadaglić creates different tones, alternating between playing with his nails and the flesh of his fingertips.

There is a real sense of humour, inventiveness and warmth to the work of Brazillian composer Heitor Villa-Lobos which is reflected in Karadaglić's performance.  Simply put, he is having a ball. 

There is also a nice through-line from earlier in the show as along with homages to pickpockets and Brazillian social life, Lobo's 'Five Preludes' also contains a nod to Johann Sebastian Bach.  There is a real simplicity to the structure of 'Five Preludes' and melodically it reminds me of David Crosby's solo album, 'If I Could Only Remember my Name'.  It has me wondering if the ex-Byrd's singer was a fan.

An argument could be made that 'The Beatles' material that Miloš has selected tonight could be regarded as a bit 'safe'.  'Yesterday' is literally the most covered song of all time and because of its fingerpicking nature, 'Blackbird' often ends up in the hands of classical guitar students.  

With that caveat aside, Miloš obviously has a great feel for the material and as he begins to play my reservations melt away.  His arrangement of 'Blackbird' is actually less staid than McCartney's, bringing out a rootsier, bluesier side of the song.  I love the bends (not something you often hear on classical guitar) and The opening eight bars of 'While My Guitar Gently Weeps' someone manages to convey McCartney's stark piano melody, Ringo's open hi-hat, and Harrison's mournful guitar into.the little lead runs where the 'into the light or the dark black night' vocal would have been.

The opening eight bars of 'While My Guitar Gently Weeps' someone manages to convey McCartney's stark piano melody, Ringo's open hi-hat, and Harrison's mournful guitar into.  It's an astounding interpretation.

Officially tonight's programme ends with a piece by contemporary multi-instrumentalist and composer Mathias Duplessy.  Miloš has a great affinity with the Frenchman's work and has even commissioned him to write for him in the past.

'Calvacade' is a fragmented roller coaster of moods, employing rippling arpeggios and bell-like harmonics before escalating to a dramatic boiling point.

The evening is not over yet though, Miloš returns to rapturous applause.  "You'll know this one", he says as he begins to play his version of Takemitsu's arrangement of 'Somewhere Over The Rainbow', wringing every last drop of pathos from the song and his instrument.