It is true what you say, and I agree with you to an extent. I think we have to balance what is wanted by the public and what will sell, and what you feel you can play and really give something to. Someone like Craig Ogden imo has gone way too far into the popular "classical fm" type repertoire with his last cd, but on the flip side you could say that this type of cd that reached a huge audience will get people into the guitar, and introduce them to the guitar and the less cheesy type of repertoire.Denian Arcoleo wrote:Sticking to tried and tested popular repertoire that everyone knows is a tactic employed by musicians who want to be popular and curry favour with the public. It also smacks of dictat from a major record label.
In my opinion this is an artistic error. Musicians should play the music that really means something to them personally, in their hearts and in their heads.
Perhaps the old warhorses like Recuerdos and Cavatina have this significance for Milos, but I doubt that.
That is logical but I don't believe it to be true. I think it just makes the average unadventurous music listener acquire a taste for cheesy music on the classical guitar as well as on other instruments.hellow326 wrote: Someone like Craig Ogden imo has gone way too far into the popular "classical fm" type repertoire with his last cd, but on the flip side you could say that this type of cd that reached a huge audience will get people into the guitar, and introduce them to the guitar and the less cheesy type of repertoire.
.Denian Arcoleo wrote: I think it just makes the average unadventurous music listener acquire a taste for cheesy music on the classical guitar as well as on other instruments.
although I get your point, I play music that is good/I can do something with. I will never build a programme around the audience's knowledge.Damian Lodge wrote:When you give a concert you play pieces that:
1. The audience knows
2. Give you a spark when you play them
3. Are on your album you are touring with
Not necessarily in this order.
Audiences for classical guitarists are mostly full of guitarists unfortunately when you go to see the less famous players. So you are playing to the converted, guitarists who appreciate the old warhorses but also like to hear something new.
A full program of new pieces I find hard to get through but if you throw in a couple from Albeniz etc you can get a feeling of how good the actual player is. Milos was brave to play a program that most guitarists are familar with, allows for more criticism and comparison.
Well said, Philphilparker wrote:...Even if I have a propensity for for modern, inventive and esoteric compositions, I still believe the gifted players appealing to the majority audience, still deserve our support!
I agree ! ! ! Although, he is playing material that people know and that is a benifit to non guitarists. But who usually show up at a guitar concert? Guitarists! I would liked to have seen him play the Granados. I am a sucker for Granados for some reason i cant explain.John O wrote:I've read nothing but rave reviews of his playing, but really, he has GOT to come up with some better programming! I don't care how well he plays those pieces--THERE IS OTHER REPERTOIRE OUT THERE! To invoke Bill Maher, NEW RULE: No more than one warhorse per program.
I totally agree with this article, it expresses an excellent point of view.James Lister wrote:Just picked up this review via Twitter:
http://www.classicalguitarreview.com/mi ... ic-review/
I have to say I agree with the sentiments in the second part of the article. You may not like his choice of repertoire, but if he gets non-guitarists going to concerts, then I think that's good for everyone.
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