A virtuoso on his instrument, Tárrega was known as the “Sarasate of the guitar”. His repertoire included many original compositions for the guitar (Capricho Árabe, Danza Mora, et al) as well as guitar arrangements of works written for other instruments by composers such as Ludwig van Beethoven, Frédéric Chopin and Felix Mendelssohn. As with his friend Isaac Albéniz and many of their Spanish contemporaries, Tárrega had an interest in combining the prevailing Romantic trend in classical music with Spanish folk elements, which he did with Recuerdos de la Alhambra and his transcriptions for guitar of several of Albeniz’s piano pieces, notably the fiery Asturias (Leyenda).
Recuerdos de la Alhambra shares a title with the Spanish language translation of Washington Irving’s 1832 book, Tales of the Alhambra, written during the author’s four-year stay in Spain. It contains extensive examples of the tremolo technique often performed by advanced classical guitarists.
A word about Milos Karadaglic
Born in the small Balkan state of Montenegro, Miloš’s love-affair with the guitar began when he was eight, when his father played him a recording of Segovia making magic with Albeniz’s ‘Asturias’. Armed with the family’s dusty old guitar, Miloš enrolled at a specialist music school, where in six months he learned all its teachers had to impart.
He gave his first public performance at nine, entered (and won) his first national competition at eleven, on the same day won a singing competition in his home town. He became a star performer on television and radio, took guitar master-classes in Belgrade, and then, shortly after the end of the Balkan war, decided to try for a scholarship at London’s Royal Academy…
Miloš’s choices of solo repertoire as well as music for guitar and orchestra are guaranteed to appeal to all lovers of guitar, classical and non-classical alike.
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