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---- Hi-Re Photos Dovnloads : ---- Milan Milosevic ---- MMTrio ---- Poster ---- Desktop
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by Gene Kavadlo- “The Clarinet,” International Clarinet Association MMTrioo.4, September 2005 Pearls & Yarn - Ethno-Classical Ser¬bian, Kosovo & Macedonian Music Milan Milosevic Trio: Milan Milosevic, clarinet; Richard Tyborowski, guitar; Nenad Zdjelar, double bass; with Lana Pavlovic, voice; and Ljubisa Pavkovic, accordion. Compositions of the Milan Milosevic Trio and Bozidar Boki Milo¬sevic. SUMMIT RECORDS DCD 415. Total time 48:47. (available from Summit Records Web site:
If you've ever wondered about the meaning of the musical genre "ethno-clas¬sical," then you need to listen to Pearls & Yarn, the engaging offering by the Milan Milosevic Trio. All members of the en¬semble have roots in Eastern Europe, and all are currently enjoying successful musi¬cal careers in Canada. Clarinetist Milan Milosevic was a member of the Belgrade Philharmonic and Music Director of the Belgrade Philharmonic Woodwind En¬sembles from 1_99. Guitarist Richard Tyborowski completed his master's degree in classical guitar performance at the Faculty of Music in Wroclaw, Poland; and bassist Nenad Zdjelar holds a bachelor's degree in contrabass from the Faculty of Fine Arts and Music in Novi Sad, Yugo¬slavia.. They are joined on this album by Serbian-born vocalist Lana Pavlovic. The musicians combine their classical training and Eastern European backgrounds to pro¬duce an exotic album of original and tradi¬tional compositions. The CD contains 15 tracks. Most selec¬tions are rather brief, ranging in length from 56 seconds to just over six minutes, with most pieces falling in the three-to¬ four-minute range. The album opens with My Aching Heart, a traditional Russian & Hungarian melody featuring the smokey voice of Lana Pavlovic, and closes with a retrospective of the same tune featuring solo bassist Nenad Zdjelar, thus providing a nice set of bookends for the CD. Guitar¬ist Richard Tyborowski has his own solo track on Tragudi, and performs with great sensitivity on the ensemble tracks as well. The star of the album is, of course, clar¬inetist Milan Milosevic. Most selections begin with a slow, tuneful folk melody fea¬turing the clarinet. Then break into wild dance-like sections providing opportunities for virtuosic displays. Mr. Milosevic's clas¬sical training is apparent - he performs with a lovely sound when appropriate, but has the flexibility to adjust his sound to accommodate the Gypsy elements in the music. He displays impressive technique and a tonguing style that is remarkable. I've heard Russian clarinetists use this ra¬pid tonguing technique in their folk music; it sounds somewhat like double tonguing, but is it really? It would be interesting to have this technique explained. It is certain¬ly fun to hear. A few minor issues - Mr. Milosevic is credited with playing saxophone on the first track, but it sounds distinctly like a clarinet. In fact, I heard no saxophone any¬where on the CD. Many of the tracks are listed as compositions by Bozidar Boki Milosevic, however no information is pro¬vided about him. Is he related to Milan? Finally, there is practically no space be¬tween several of the tracks (nos. 6-7, 12-¬13, 14-15), and it is difficult to tell where one track ends and the next begins. It is unclear if these are intentional segues, but the listener should watch the CD player display to identify tracks. Perhaps this disc provides a good defin¬ition for the question raised earlier about the "ethno-classical" genre. The album ably demonstrates how classically trained musicians can use their training in the ser¬vice of interpreting music of their ethnic heritage, and it provides us with a very happy listening experience. .Dear Mr. Gillespie, 2006-01-15 It gives me a great pleasure to answer questions raised by Mr. Kavadlo in the review of my CD, “Pearls & Yarn,” Milan Milosevic Trio, Summit Records Inc./ ICA, ‘The Clarinet,’ Issue Vol. 32, No.4, September 2005. Mr. Kavadlo question the use of Saxophone in piece named "My Aching Heart', stating that sound of instruments resemble more closely use of two Clarinets on that recording. “In fact, I heard no saxophone anywhere on the CD". I am quite proud to confirm that Alto Saxophone was used to double Clarinet throughout the entire piece. (“Pearls & Yarn”, CD Summit Records Inc., title No.1: "My Aching Heart") On the other hand, Mr. Kavadlo remarks are quite logical considering the use of extended playing technique that resembles more of a Bass Clarinet performance, then traditional saxophone embouchure posture. This resulted in producing the wormer and significantly more mellow timbre on the Saxophone, resembling quite closely clarinet-like warmness. Bozidar Boki Milosevic, composer of the most tunes on a CD recording is, in fact, my father. Please note that this fact has been purposefully omitted in the program's note since, in my opinion, that fact is not crucial, and besides, the same last name can easily guide an audience to draw their own conclusion, without pointing out the obvious. Tonguing/thrill technique is very unique, and originally designed to extend and enhance the characteristics of performance throughout the Pearls & Yarn project. It is the combination of ‘Double/Triple tonguing’ used in a classical way, combined with patched ‘double trills and mordents,’ used to positively reinforce that effect. Also, there is a third factor; ‘super-charged thrill’ used throughout the entire range of clarinet, that artificially enhances the 'sensation' of super-fast triple tonguing. This playing technique is produced by ‘slapping’ the second and third right-hand upper keys with a right-hand index finger in extremely fast, yet gentle fashion; at the same time avoiding faulty harmonics on any given note where this particular technique has been applied. When combined with aforementioned two techniques, it blends into the whole 'recipe' for the ethno-classical style of my performance. It is the product of my long-time research, used mostly in contemporary classical compositions; some of which are dedicated to and commissioned by me. This time, I've tried to diversify and expand this invention, thus producing the eclectic presentation on the edge of folk and boundary of classical aesthetical values. These particular risks taken in effort to create this ethno-classical genre would be percept harshly in the countries from where these music counterparts originate, considering the culture and age-old customs that define aesthetics and styles more rigidly; as opposed to North-American openness, which openheartedly welcomed my interest in ethnical roots of the Balkans. Thank you very much for your interest, and patience of all respectful members of International Clarinet Association in reading my response. I am deeply honored by Mr. Kavadlo remarks and would like to extend my deepest gratitude for your review. Best & Warm Regards, Milan Milosevic E-mail: milan@milanmilosevictrio.com Web: www.milanmilosevictrio.com
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CD Review – Winnipeg Free Press MILAN MILOSEVIC TRIO - PEARLS & YARN (Summit Records Inc.) Winnipeg's Milan Milosevic Trio makes moody chamber music with a Serbian twist, blending a classical sensibility with earthy, Eastern Euro¬pean folk on this imaginative debut. The influences range from Hungari¬an Roma songs to Macedonian dances, but clarinetist Milosevic, guitarist Richard Tyborowski and bassist Nenad Zdjelar are at their best with the unusual Echoes from Rugovo and the jazzy Call from the Mountain. Despite the centuries-old sound, most of the cuts are original compositions by the bandleader's father, Bozidar Boki Milosevic. ***** five out of five - Holly Harris .
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Concert Review – Winnipeg Free Press By Gwenda Nemerofsky ,From Bach to Sid - Robert Zelickman and Milan Milosevic Trio And now for something completely different…that certainly describes Saturday evening’s eclectic concert presented by the Virtuosi series. On stage was San Diego clarinettist Robert Zelickman and the Milan Milosevic Trio, consisting of Milosevic, clarinet, Richard Tyborowski, guitar, and late addition, Steve Kirby on double bass. The repertoire was an ethno-classical mix drawing from several eras, making for an entertaining evening. Opening with a gentle clarinet duet by C.P.E Bach, Zelickman and Milosevic proved to be well-matched. There was immediately an intimate feeling about the performance, as if the audience was unseen – and these were just two friends playing friendly duets in their living room. They played without showiness or unnecessary bravado – a modest, clean performance rarely heard anymore. The music was centre stage, not the musicians. It was a lovely way to begin. That done, the pace changed dramatically. Five Short Klezmer Pieces arranged by Zelickman saw his fingers flying over his instrument in bouncy, catchy melodies that made audience heads nod and toes tap. “Klezmer is all about making joyful music,” explained Zelickman, a true mensch if there ever was one, and joyful music is what we got. Sinuous phrases, alternatingly humorous and sensuous; the clarinet mimicking laughter with marcato notes, told stories of a wedding. A fascinating duel of sorts was featured in Doina, in which Zelickman and Kirby faced off. Kirby displayed his entire range resonantly with some nifty effects. Zelickman answered expertly on bass clarinet, exploring the depths of this instrument as well, for a comical contest, leaving the audience the clear winner. Milosevic introduced Pearls and Yarn, a set of pieces originally written by his father and arranged by Milosevic for his trio. This was a captivating work that gave each of the performers a chance to shine. Less clarinet-dominated than traditional Klezmer music, this mix of Mediterranean, jazz and Klezmer allowed us to hear the considerable talent of Tyborowski, who opened A Girl’s Dance in a Sor-inspired Elizabethan style melody, understated and lovely. Tyborowski played with well-articulated fluidity. The piece changed from bucolic to rhythmic and jazzy, keeping musicians and audience on their toes. Winnipeg composer Sid Robinovitch’s Klezmer Fricassee brought the entire ensemble to the stage for a rousing finale. There are a multitude of styles in this piece, yet they blend seamlessly into their own delicious confection of a work, rich with melody, colour and texture. Stylish playing and great ensemble chemistry gave this world premiere a fitting introduction. Sensitive, subtle, even brash when called for, this ultra professional group showed deep understanding of the genre. This is music with unmistakable character. The only drawback of this concert was that the audience had to stay seated when the urge to jump up and dance was almost irresistible. . |
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