Guest
Sérgio Assad (1952): One of the greatest living composers of our instrument, Sérgio Assad recently wrote 24 studies for solo guitar, which I consider the most important group of guitar studies since Villa-Lobos’. In the studies, Sérgio surveys the most significant Brazilian rhythms, as well as portraying many important composers who in one way or another have connections with the guitar. Sérgio’s knowledge of the role of Brazilian guitar throughout the 20th and 21st centuries is second to none. He plays popular music, and besides being a master arranger, he is also a great improviser, incorporating that into his compositions. In “Mignoniana”, Sérgio masterfully uses the multi-layered Afro-Brazilian rhythm Maracatu, which is not commonly heard in solo guitar music due to its polyrhythmic nature, but here takes the form of a constantly evolving dance challenging the endurance of the player. Francisco Mignone was the Brazilian composer of his generation mostly associated with the Maraca
