Guitar hero's master class

IN MUSICAL terms, there is little doubt the guitar dominated the second half of the 20th century and yet its pedigree stretches back almost 2,000 years.

The pop world may have its guitar gods, but the classical world is not without its own heroes and while the name of John Williams may easily spring to mind; Milos Karadaglic is undoubtedly a young man with the potential to join the ranks of the elite.

As the guest of Grimsby Concert Society, he delivered a master class recital at the Central Hall, Grimsby, and demonstrated the sheer versatility of the guitar, without a single amplifier in sight.

He played with passion and sensitivity, almost appearing to enter a trance as he composed himself for a diverse programme of music from across the centuries.

Milos opened with the very melodic Variations On A Theme Of Mozart by Fernando Sor; written at a time when operatic arias were the pop songs of the day and the guitar was the instrument of choice at home.

A Prelude And Fugue from Bach, though written for the keyboard and adapted for the lute, required even further adaptation by Milos for the guitar.

On the other hand, the works of Heitor Vila-Lobos served to demonstrate why the guitar should share parity with any other instrument of the orchestra.

Meanwhile, the first public performance of any piece of music must be a daunting prospect and yet Milos chose Grimsby to debut his interpretation of Isaac Albeniz's Asturias Op 47/3 and I doubt, without his honesty, any of us would have guessed.

The recital closed with Koyunbaba from the 20th century experimental composer Carlo Domeniconi. Inspired by the waves, sea and beach it seemed an appropriate choice with our own shoreline so close.

Trevor Ekins