Get Tickets
muziekgebouw.nl
About this concert
When it comes to today’s classical guitarists, there is one name that stands out: Miloš Karadaglić, a native of Montenegro. Impressive technique, expressive playing style – a virtuoso with a pop star status. He takes famous baroque works by composers like Händel, Vivaldi, Rameau and Purcell and reimagines them for guitar and ensemble. Familiar music, but with a new and contemporary sound. The musician’s hard work has paid off, with record contracts from Sony and Deutsche Grammophon. Music from a Spanish fandango by Boccherini to the gentle lyricism of Purcell’s The Fairy Queen. From contemplative sounds from Rameau’s Les Boréades to a lively concerto grosso by Handel. The English baroque ensemble Arcangelo was founded in 2010. In a short time, the ensemble has built up an impressive reputation, with a string of award-winning recordings. The collaboration with MILOŠ is a match made in heaven and will undoubtedly result in more awards.
Show More
Find a place to stay
Event Lineup
Upcoming concerts from similar artists
Easily follow your favorite artists by syncing your music
Sync Music

Share Event
About the venue
Muziekgebouw is Amsterdam's concert hall for contemporary and newly composed music as well as related genres such as classical, jazz, electronic and global music. More th...
read moreFollow Venue
Jean-Philippe Rameau Biography
Jean-Philippe Rameau (25 September 1683 - 12 September 1764) was one of the most important French composers and music theorists of the Baroque era. He replaced Jean-Baptiste Lully as the dominant composer of French opera, and was attacked by those who preferred Lully's style.
Rameau’s music is characterised by the exceptional technical knowledge of a composer who wanted above all to be renowned as a theorist of the art. Nevertheless it is not solely addressed to the intelligence and Rameau himself claimed “I try to conceal art with art”. The paradox of this music was that it was new, using techniques never known before, but it took place within the framework of old-fashioned forms; Rameau appeared revolutionary to the Lullystes, disturbed by the complex harmony of his music, and reactionary to the “philosophes” who only paid attention to its content and who either would not or could not listen to the sound it made. The incomprehension he received from his contemporaries stopped Rameau repeating such daring experiments as the second Trio des Parques in Hippolyte et Aricie, which he was forced to remove after a handful of performances because the singers were unable to interpret it correctly. So the greatest harmonist of his era went unrecognised at the very time that harmony - the “vertical” aspect of music - was taking precedence over counterpoint, which represented its “horizontal” aspect.
Read MoreRameau’s music is characterised by the exceptional technical knowledge of a composer who wanted above all to be renowned as a theorist of the art. Nevertheless it is not solely addressed to the intelligence and Rameau himself claimed “I try to conceal art with art”. The paradox of this music was that it was new, using techniques never known before, but it took place within the framework of old-fashioned forms; Rameau appeared revolutionary to the Lullystes, disturbed by the complex harmony of his music, and reactionary to the “philosophes” who only paid attention to its content and who either would not or could not listen to the sound it made. The incomprehension he received from his contemporaries stopped Rameau repeating such daring experiments as the second Trio des Parques in Hippolyte et Aricie, which he was forced to remove after a handful of performances because the singers were unable to interpret it correctly. So the greatest harmonist of his era went unrecognised at the very time that harmony - the “vertical” aspect of music - was taking precedence over counterpoint, which represented its “horizontal” aspect.
Classical
Follow artist