Throughout his distinguished career, Sérgio Assad has cultivated a deep connection with Greece, both through performance and composition.
His Mikis Concerto Fantasia (1999), inspired by the music of celebrated Greek composer Mikis Theodorakis, was premiered in Athens in 2000 by guitarist Costas Cotsiolis and the Athenian String Orchestra.
A decade later, Thanos Mitsalas gave the concerto its first recording, further cementing its place in the contemporary guitar repertoire.
This collaboration blossomed further, as the composer’s trust in the interpreter produced remarkable fruits.
Among them was Seikilos Epitaph’s Fantasy, inspired by the oldest surviving complete piece of ancient Greek music, which was dedicated to and premiered by Mitsalas.
His ongoing championing of Assad’s music through performances and recordings ultimately inspired the Naoussa Concerto for guitar and symphony orchestra.
The concerto premiered in the northern Greek town of Naoussa, performed by Mitsalas and the Thessaloniki State Symphony Orchestra.
The performance commemorated the 200th anniversary of a tragic event in the town’s history — the 1822 massacre during the Greek War of Independence.
This premiere was a powerful testament to the connection between Assad and Mitsalas, whose collaboration continues to resonate throughout Greece’s vibrant musical landscape.
The Municipality of the Heroic Town of Naoussa fully embraced and supported the recording project, which features two programmatic concertos.
These pieces, through their descriptive movement and section titles, paint a compelling picture of contrasting cultural environments:
one an urban Brazilian setting, the other a rural Greek one.
Naoussa Concerto for Guitar and Orchestra
I. Aristotle tutors Alexander, walking by the Nymphs’ Springs of Mieza
Set in the ancient Macedonian town of Mieza, near modern-day Naoussa, the first movement is divided into three sections: Physis, Ethos, and Logos.
These correspond to key concepts in ancient Greek thought and frame the narrative of young Alexander the Great’s tutelage under Aristotle.
Physis (meaning both “nature” and “character”) introduces a youthful, restless Alexander—energetic, intelligent, and eager to be shaped by his mentor.
A lush orchestral texture with strings and harp evokes the timeless natural setting, while the oboe introduces a three-note motif later taken up and developed by the guitar.
The soloist brings Alexander vividly to life with phrases full of vitality.
In Ethos, the relationship between teacher and pupil deepens.
The music explores the philosophical and moral shaping of Alexander’s character, culminating in a reflective cadenza that serves as a kind of soliloquy—a moment of inward growth and self-realization.
Finally, Logos (meaning “reason,” “discourse,” or “word”) charts Alexander’s maturation.
The guitar’s bold, confident lines suggest his intellectual awakening and ambition to spread Greek ideals.
The orchestra joins in a celebratory fanfare, portraying the young conqueror’s first steps toward his world-altering destiny.
A spiraling descent in the guitar concludes the movement with quiet introspection.
Naoussa Concerto for Guitar and Orchestra
II. Lament of the Rising Angels & Victorious Dance
This movement commemorates a tragic episode in Naoussa’s past.
On April 22, 1822, during the Greek War of Independence, Ottoman forces overran the city.
In a final act of defiance, local women—holding their children—danced the Makrinitsa, a regional lament, before leaping from a cliff.
Assad opens with a cinematic orchestral prelude, evoking the landscape.
The traditional Makrinitsa melody forms the emotional core, first introduced by the guitar, then by oboes and winds in varied guises.
A short, delicate bridge leads to a subtle snare rhythm that evolves into a spirited folk dance.
Assad integrates a traditional Naoussa melody, which the guitar elaborates with flair.
As the orchestra joins, tension builds to a dissonant climax before retreating into a pensive cadenza.
The lament returns briefly, leading to a tender, restrained close.
III. Dionysus celebrates ‘Xinomavro’ wine at the vineyards of Naoussa
The final movement is a joyful ode to the region’s famed Xinomavro wine and its deep mythological roots.
Set in 6/8 meter, traditionally associated with dance, this movement exudes vitality and festivity.
The orchestra establishes a pastoral mood, setting the stage for the oboe to present the melody of the Seikilos Epitaph,
the earliest surviving complete song from Greek antiquity.
The guitar soon takes it up, weaving it into a contrapuntal dialogue with the orchestra.
As the narrative unfolds, Dionysus meets his mother Semele near the mythical “Gardens of Midas” at Mount Vermio.
Trilled figures in the strings and guitar depict their lyrical interaction.
Suddenly, the atmosphere changes.
A flurry of tremolos announces the arrival of Silenus—Dionysus’s satyr-father and longtime companion—who urges his son into a frenzied dance.
Assad unleashes a whirlwind of energy, with the guitar trading swirling motifs with the orchestra.
Rhythmic and harmonic complexity intensify as the movement accelerates.
At its emotional core, the guitar returns to the Seikilos melody in a cadenza titled “Bacchus Meditation.”
From here, the final section—“Dionysus at the big wine feast”—bursts forth in exuberance.
Guitar and orchestra unite in a jubilant apotheosis, closing the work in triumphant celebration.
Concerto Popular do Rio for Guitar and Orchestra
This concerto from 2013 is a musical journey through three emblematic neighborhoods of Rio de Janeiro—Lapa, Urca, and Mangueira—each reflecting a distinct social and cultural facet of the city.
In its three movements, the piece captures the essence of Rio’s diverse musical heritage,
from the vibrant streets of bohemian Lapa to the genteel charm of Urca and the dynamic pulse of Mangueira.
I. Lapa
The first movement evokes the spirit of Rio’s historic nightlife district, a cradle of samba and choro.
Syncopated rhythms and lyrical lines reflect the improvisational energy of these genres,
conjuring the ambiance of rodas de choro and the animated atmosphere of Lapa’s bars and cultural venues.
Particularly notable are the nuanced timbral choices in the vividly colorful orchestration,
and the striking contrasts in mood and dynamics between the three sections—
mirroring the multifaceted character of the city itself.
II. Urca
By contrast, this middle movement transports the listener to a more refined setting, shaped by ballroom dances and sophisticated harmonies.
The solo introduction sets the scene with grace,
while an extroverted cadenza with hints of noble virtuosity highlights the guitar’s central role in Brazil’s rich musical tradition.
Inspired by Urca’s picturesque seaside and its association with Rio’s elegant past,
the movement unfolds in flowing waltzes and smooth, lyrical melodies that evoke both nostalgia and poise.
III. Mangueira
The final movement pulses with the energy of Rio’s most iconic samba school,
channeling the spirit of Carnival and the heartbeat of the people.
Propelled by percussive drive, call-and-response motifs, and the unmistakable swing of samba-enredo,
the music pays tribute to the neighborhood’s profound contributions to Brazilian cultural identity.
With Concerto Popular do Rio, music becomes a bridge between these contrasting yet interconnected worlds,
celebrating Rio’s extraordinary capacity to honor tradition while embracing transformation in perfect harmony.
—George-Julius Papadopoulos