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THIS MONTH’S CONTRIBUTORS
Founded in 1923 by Sir Compton Mackenzie and Christopher Stone as ‘an organ of candid opinion for the numerous possessors of gramophones’
Miloš: new champion of the classical guitar ANDREW MELLOR describes the music of Rued Langgaard, the subject of this month’s Icons, as ‘the biggest surprise-discovery of my musical life’. Thanks to a Danish Arts Council grant earlier this year, Gramophone’s reviews editor spent a week in Denmark ‘digging further into the life of a man who can safely be described as a musical phenomenon’.
The guitar holds an intriguing place within classical music. For many, it’s an instrument capable of great tonal beauty and high drama, with a repertoire steeped in both soulful pathos and graceful elegance. But it’s the very repertoire that, while a guitarist’s greatest gift, has also led to the instrument being marginalised by the mainstream. In many cases, certainly until recently, great guitar composers didn’t tend to write for other instruments
RICHARD FAIRMAN has experienced a volte-face in his view of Britten’s Songs and Proverbs of William Blake: ‘From finding it the most difficult of his song-cycles, I now believe that it is the most rewarding.’ It was, he says, ‘a real pleasure’ to meet Roderick Williams, the latest to record the work, for The Musician and the Score.
Writing about the development of the classical guitar for our Guitar Focus this issue provided WILLIAM YEOMAN with ‘a rare opportunity to interview both a guitarist and his guitar maker, and to appreciate the high level of collaboration involved’. He also enjoyed the challenge ‘of trying to communicate the richness of the guitar’s history’.
with ‘a rare
– and the great composers of the rest of the repertoire didn’t tend to write for guitar. It took Andrés Segovia to change this, almost single-handedly creating the role of solo virtuoso guitarist in the recording age. Guitarists of subsequent generations – Julian Bream, John Williams and David Russell, to name just three – built upon this. And then recently something extraordinary happened: a classical guitarist’s debut recording remained at the top of the Specialist Classical Chart for much of the past year. That artist is Milo≈ Karadagli´c – or Milo≈ as he’s known simply – who was named Gramophone’s Young Artist of the Year at our 2011 Awards. I met him to talk about how he sees the guitar within the wider musical world.
‘For many, it’s an instrument capable of great tonal beauty and high drama, with a repertoire steeped in both soulful pathos and graceful elegance’
So rarely does a guitarist make the cover of Gramophone that we’ve also taken the opportunity to explore the topic more widely, looking at how the repertoire grew – and continues to grow – under its leading advocates. We also talk to a leading practitioner of period performance, William Carter.
Being dismissive of barriers within music is not unique to Milo≈. Staff writer Charlotte Smith talks to star soloists who have made the bold decision to set down their instruments (temporarily) and pick up the conductor’s baton. Vladimir Ashkenazy, Han-Na Chang,
Nikolaj Znaider and Paul Watkins, among others,
others, among Watkins, Paul and Znaider Nikolaj tell us what one discipline adds to the other.
other. the to adds discipline one what us tell
And finally, don’t forget to log on to gramophone.co.uk
And finally, don’t forget to log on to gramophone.co.uk to explore the wealth of archive articles we’ve gathered to celebrate the archive articles we’ve gathered to celebrate the artists in our Hall of Fame, launched in the last issue – and thank you, too, for all the comments we’ve had about those who made, and didn’t make, the final list.
FOR THE FULL LIST OF GRAMOPHONE REVIEWERS TURN TO PAGE 37
GRAMOPHONE JUNE 2012 3