Described by BBC Music Magazine as ‘one of the six best classical guitarists of the last 100 years’, Montenegro-born Milos Karadaglic this month makes a welcome return to Warwick Arts Centre, where he’ll be joined by the Arcangelo Chamber Orchestra to present a programme of Baroque classics

Is your most recent album, Baroque, a bit of a reset for you, Milos?
I tend not to look at things in this way, because I always see music as one thing. I have changed through the years, and so has the world around me. I feel that it has never been more important to really be true to yourself. That’s the only way that we, as artists, are going to be able to survive and stay relevant in a world that is constantly changing around us. So in many ways, yes, it's a bit of a reset if you want to look at it like that; but for me, it's just a natural return to the core values of who I am as a musician.

There are some interesting choices within Baroque - can you tell us a bit more about the selection process?
Baroque is the treasure trove of the pieces that I have loved over the years; pieces that have been played by so many of my heroes and colleagues, and works that I have enjoyed as a listener. I wanted to see how I could tackle the subject of Baroque music from that perspective; not looking at it from the perspective of the classical guitar, where the view on Baroque is limited to just a handful of composers. It was a big process to make the selection because some pieces work and some pieces don't work for the guitar. But the one thing that makes them all come together is the variety of styles and influences. Each piece on the album is a little bit like a Baroque pearl. Each one is slightly different, and each one has its own beauty. And yet, at the same time, all together as an album they make just one perfect whole. I have very rarely enjoyed the process of making an album as much as I have this one -  working with Jonathan Cohen and Arcangelo and arranging the works together with Michael Lewin. I feel really proud of this one.

Many of the pieces were written for other instruments. Did that present challenges in terms of translating them to guitar? And if so, how did you get over them?
There were many challenges. There were pieces that I would work on until the very end, and then I would realise that a phrase wouldn't work simply because of the limitations of the guitar compared to the keyboard, or the fact that I don't have a bow like you have on the violin or on the cello. Whenever you are dealing with transcriptions, it's so important to know that the main moral guide in any transcription should be that you should only be doing it if it adds another layer of expression, another layer of quality and another idea to what is already there from the composer. The moment it becomes a compromise, an ego trip, rather than something that serves the music and the purpose of why it's done, I've always been very conscious of that throughout my career. It only makes sense if it stays true to the message. 

Which are your favourite tracks on the album?
It was tremendous fun to play the Vivaldi concerto movements that were written for four solo violins. But also, all my life I've been drawn to pieces that are lyrical and that wake up your inner heartstring: pieces like the Rameau, Handel and Couperin. Finding a way to make the guitar sing, and finding a way to make the string become a voice, is what always gives me the most pleasure - and that is always what I love sharing the most with my audience in concert. Rameau’s The Arts And The Hours and Handel’s Menuet are two such pieces on the album. 

What are your plans for the year ahead? 
I'm touring Baroque in the UK, America, and in the summer at festivals. And at the same time, I'm very much thinking about the next album and the next cycle. That's never easy, because so much consideration and thought goes into that. It's a process that always lasts for many months before that journey becomes clear. Right now, I'm in the middle of exactly that.

You've played Warwick Arts Centre before. Any memories of previous appearances there?
Yes, of course. How could I forget?! Coventry was a huge open-air festival organised by the BBC, and that's always really special because you get to play in front of a very wide audience. That's something I love doing very much because guitar is that perfect instrument that bridges the gap between classical and mainstream. It really is always very special. I have been to Warwick Arts Centre numerous times with orchestras and solo, and every time I played there, there was something I remembered. I also love coming here as I have close friends that live nearby, and seeing them every time makes it feel very, very memorable.

Milos Karadaglic performs at Warwick Arts Centre, Coventry, on Saturday 9 March.