Valsa de Outono
[Solo Guitar]
GFA 2008 Set Piece
A piece arrived for review recently that particularly caught my attention: a neatly-proportioned waltz, Valsa de Outono (Autumn Waltz) by Sergio Assad. It was commissioned by the puplishers Doberman-Yppan as the set piece for the Guitar Foundation of America (GFA) 2008. As music goes, for the compulsory section of a competition it is almost a perfect example, combining a suitable amount of technical challenges with an appealing concoction of melody and harmony that few come close to. It is a piece that has rather surprised me in that it has inspired me to learn it forthwith, almost to the point of a slight obsession, which surely is no bad thing when it comes to the discovery of a new piece of music. Considering the vast amount of published material that arrives for review at Classical Guitar Magazine, it is unusual, or rather has been of late, for a piece, however big or small, to stand out from the crowd. How does a composition manifest itself and escape obscurity? Of course it can never do this on its own; a myriad combination of events and personalities that eventually lead to greater things, contribute to a pieceâs longevity or in many cases, rediscovery, I am not saying that Valsa de Outono will be the next Cavatina, and a few would ask who would want it to be; in many ways it is a very subtle offering from the great Brazilian guitarist and composer, full of loving attention to detail and, getting back to the competition bit, requiring a definite technical and musical ability for its successful mastering: exactly what a set piece is put in place for. I would heartily recommend it to add warmth to your winter repertoire. - Tim Panting, Classical Guitar Magazine
“A piece arrived for review recently that particularly caught my attention: a neatly-proportioned waltz, Valsa de Outono (Autumn Waltz) by Sergio Assad. It was commissioned by the puplishers Doberman-Yppan as the set piece for the Guitar Foundation of America (GFA) 2008. As music goes, for the compulsory section of a competition it is almost a perfect example, combining a suitable amount of technical challenges with an appealing concoction of melody and harmony that few come close to. It is a piece that has rather surprised me in that it has inspired me to learn it forthwith, almost to the point of a slight obsession, which surely is no bad thing when it comes to the discovery of a new piece of music. Considering the vast amount of published material that arrives for review at Classical Guitar Magazine, it is unusual, or rather has been of late, for a piece, however big or small, to stand out from the crowd. How does a composition manifest itself and escape obscurity? Of course it can never do this on its own; a myriad combination of events and personalities that eventually lead to greater things, contribute to a piece’s longevity or in many cases, rediscovery, I am not saying that Valsa de Outono will be the next Cavatina, and a few would ask who would want it to be; in many ways it is a very subtle offering from the great Brazilian guitarist and composer, full of loving attention to detail and, getting back to the competition bit, requiring a definite technical and musical ability for its successful mastering: exactly what a set piece is put in place for. I would heartily recommend it to add warmth to your winter repertoire.”
Tim Panting (Classical Guitar Magazine)
| Featured Product | No |
|---|---|
| Composer | ASSAD, SERGIO |
| Availability | Available |
| TAB/Notation | Music Notation Only |
| Level of Difficulty | 5 |
| Description | “A piece arrived for review recently that particularly caught my attention: a neatly-proportioned waltz, Valsa de Outono (Autumn Waltz) by Sergio Assad. It was commissioned by the puplishers Doberman-Yppan as the set piece for the Guitar Foundation of America (GFA) 2008. As music goes, for the compulsory section of a competition it is almost a perfect example, combining a suitable amount of technical challenges with an appealing concoction of melody and harmony that few come close to. It is a piece that has rather surprised me in that it has inspired me to learn it forthwith, almost to the point of a slight obsession, which surely is no bad thing when it comes to the discovery of a new piece of music. Considering the vast amount of published material that arrives for review at Classical Guitar Magazine, it is unusual, or rather has been of late, for a piece, however big or small, to stand out from the crowd. How does a composition manifest itself and escape obscurity? Of course it can never do this on its own; a myriad combination of events and personalities that eventually lead to greater things, contribute to a piece’s longevity or in many cases, rediscovery, I am not saying that Valsa de Outono will be the next Cavatina, and a few would ask who would want it to be; in many ways it is a very subtle offering from the great Brazilian guitarist and composer, full of loving attention to detail and, getting back to the competition bit, requiring a definite technical and musical ability for its successful mastering: exactly what a set piece is put in place for. I would heartily recommend it to add warmth to your winter repertoire.” Tim Panting (Classical Guitar Magazine) |