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Milos Karadaglic/Malvern Theatres
A CLASSICAL concert often poses more questions than provides answers – in this case, the issue of the occasional edgy relationship between various European musical forms.
Now, we all know that it’s considered an unspeakable heresy to talk of JS Bach in anything other than hushed, reverential tones. Yet his intimidating and pompously titled Prelude and Fugue from Suite for Lute in C Minor BWV997 – phew – is as devoid of human emotion as it endlessly overflows with technical expertise.
No wonder then that I found myself mentally urging the whole thing on so that this fabulously talented guitarist with his unearthly gifts could launch into the more Spanish-flavoured and folk-derived items.
After all, he had earlier tempted us with a solo piece by Fernando Sor that had definitely left us not only hungry but desperate for more of the same.
Alas, this was mere tapas for the huge fugue course. But joy of joys, it wasn’t long before we got into the real meat, served with an iconic Iberian flambé courtesy of Heitor Villa-Lobos and his peerless sound portraits of old Spain.
This certainly set us in the mood for the high spots of the night, a sultry heat-forged rendition of Isaac Albeniz’s Asturias, a scorching piece whose warmth effortlessly melted into Granada and Sevilla.
This performance by the planet’s greatest classical guitar hope was completed by a masterly interpretation of Koyunbaba, a Turkish seascape awash with notes and all deftly painted by a young genius who has the world - as well as a guitar case - at his feet.
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