What a Great Post!goingeasy wrote:I have actually attended a Miloš Karadaglić concert in Los Angeles and I actually think he did very well. Did he completely enthrall me? No. Did I, at any point, fall to my knees and started weeping from a piece that I thought he interpreted perfectly? No. Still, I enjoyed his concert very much and he is a very good player. No, I personally do not feel he is currently among the greatest classical guitar players but he definitely has what it takes to be a recording and performing artist. He has earned the right to do that much. It is up to us to let him know if we appreciate what he is doing by buying or not buying his recordings and his concert tickets. He can then choose to take action and change or not change what he is doing. He also, like most classical guitarist, likely possesses the ability to get BETTER!
Milos and his associates(record label) have at least given many people the opportunity of sampling what he calls "his" art. Sadly, being an artist or even a great artist often takes a bit more than just creating great art. I'm not an art/music scholar but theoretically you should be able to just judge art on its technical and interpretive merits. If you have achieved that "greatness" to a certain degree, it would be nice if you were guaranteed success. Let the art speak for itself. SORRY, NOT IN REAL LIFE. It often times requires the person behind the art to be just as big (and maybe even bigger) than the art itself. If you are an artist creating great art in your attic and you truly don't care about anybody ever experiencing that art except yourself-then you are a great artist. It doesn't matter that you were the only one to see it-that was your goal.The problem is that most, if not all, works of art are emotional creations that are most satisfying to the artist when they are shared. If you really wanted your painting to be seen and experienced by others then you need to get it down from the attic and out the front door. Additionally, we are a human audience and we allow conscious and subconscious feeling to override the actual level of greatness of the art that we are experiencing. We let our feelings towards interpretation override our thought about the level of technique or vice a versa. Sometimes the art is making a cultural, religious or political statement that we are aligned with so we elevate the art's greatness. Sometimes the main attraction is the artist himself (although this tends to be a short lived attraction). What I'm getting at is that art (and its artist) has to figure out how to catch someones eye or ear and then the traveling begins. Travel through their portals of entry, down their pathways of communication and don't stop until you've struck a nerve. Milos, like Segovia, will likely never be the greatest classical guitarist in the minds of the general classical guitar community but that does not mean that he will not remain an important ambassador for the art form. They have both found the "pathway". Like Segovia he is a very good instrumentalist but unlike Segovia he is charismatic.
Maybe Milos' art is less significant than others but he was able to find the path to an audience. There is more to this formula than being a great player. Most professional CG players hopefully know that the audience is small even in the best case scenario. Unfortunately, most great classical guitarist will never find that path to the audience they are looking for. Why? That is for them to figure out.
Yes, Milos, and some others, found that path. And they're just doing the best with what they've got.
I do have one tiny quibble, though:- A few decades ago Segovia was thought to be the "greatest". He certainly inspired a whole generation, and further generations, in all things classical guitar. It's only in recent years people have started to pick him apart, which I might add is out of context to how people might have heard his playing all those years ago.