COMPOSER & PERFORMER
PRESS
Misc. Quotes
“Her impassioned vocal work and her descent from one of Brazil’s leading musical families have combined to enable her to offer an inimitable style—already matured—that’s unlike anyone else’s. In contrast to the expectation of Brazilian singers remaining within a narrow range of coolness expressing romantic ambivalence, Assad rejoiced through singing, her multi-faceted talent uncontainable as she energetically bends music to her will and reshapes it with fascinating results."
JAZZ IMPROV MAGAZINE
"...Clarice Assad sings with intonation as precise as any digital device. She improvises cascading scales that take on sparkling lives of their own."
Tucson Citizen
JAZZ IMPROV MAGAZINE
"...Clarice Assad sings with intonation as precise as any digital device. She improvises cascading scales that take on sparkling lives of their own."
Tucson Citizen
Dreamscapes (2009)
“Things heated up during Assad’s Dreamscapes, with Salerno-Sonnenberg standing to solo and adopting an appropriately athletic approach to what the composer, in her program notes, describes as “this notion of awareness versus subconscious.” Like Hermann and Borodin, Assad arrays various the strings to make both the parts (including soloists) and the whole support her compositional concept, in the process showcasing the NCCO’s individual and collective skills. This is an exciting and worthy addition to the repertoire, and Assad was called to the stage to receive a well-deserved bouquet.”
Jeff Kaliss, SAN FRANCISCO CLASSICAL VOICE
Assad's "Dreamscapes," a 12-minute violin concerto that seeks to conjure up a sleeper's internal state, got a vivid rendition with Salerno-Sonnenberg as the tireless soloist. The music pursues a surreal jumble of moods - a burst of Expressionism, an angular nightmare waltz, an uneasy rhapsody and more - with the violin as the guiding consciousness always at the fore. Cellist Michelle Djokic made a handsome secondary contribution. May 19th, 2009
Joshua Kosman, SAN FRANCISCO CHONICLE
Jeff Kaliss, SAN FRANCISCO CLASSICAL VOICE
Assad's "Dreamscapes," a 12-minute violin concerto that seeks to conjure up a sleeper's internal state, got a vivid rendition with Salerno-Sonnenberg as the tireless soloist. The music pursues a surreal jumble of moods - a burst of Expressionism, an angular nightmare waltz, an uneasy rhapsody and more - with the violin as the guiding consciousness always at the fore. Cellist Michelle Djokic made a handsome secondary contribution. May 19th, 2009
Joshua Kosman, SAN FRANCISCO CHONICLE
When Art Showed Up (2009)
"In contrast was the New York premiere of “When Art Showed Up” by Ms. Assad, a young Brazilian composer. Before beginning the piece she learned that Ms. McDermott, a fan of Art Tatum, had always wanted to play jazz. According to Ms. Assad, her programmatic work evokes a pianist learning a new classical piece while possessed by the spirit of Tatum. The lively work, in theme and variations form, alternated between Baroque and Classical allusions and jazzy interludes of increasing energy played with panache by Ms. McDermott."
Vivien Schweitzer, The New York Times
Vivien Schweitzer, The New York Times
Impressions (2008)
“Gorgeous Premiere ... The five-movement Impressions shows off the NCCO in its best light. The first movement is a set of variations, one for each of the five sections of the orchestra. The theme itself is beautiful and bluesy.... one of the more enjoyable new works I’ve heard in recent years." Sept. 13th, 2008
Jeff Dunn, SAN FRANCISCO CLASSICAL VOICE
“...Assad, a prominent figure in both jazz and classical composition, is a serious triple threat." Sept. 12th, 2008
Joshua Kosman, SAN FRANCISCO CHRONICLE
“Lushly film-score-ish, with echoes of black spirituals, dances from Brazilian salons of yore — and Vivaldi's sunshine. “ Sep. 12th, 2008
SAN JOSE MERCURY NEWS
"It’s good to have a recording of the NCCO’s season opener, resident composer Clarice Assad’s fine Impressions: Suite for Chamber Orchestra. Its opening theme is quite inviting, allowing more room to breathe than Piazzolla’s full-throttle assault. After the captivating second movement’s Danca Brasileira, with its echoes of Assad’s homeland, the middle movement’s lovely Slow Waltz contrasts with is grace. There’s lots of zippy energy in the challenging fourth movement Perpetual Motion, which Assad wrote to showcase what she calls in the liner notes the NCCO’s “flawless proficiency and impeccable artistry.” I couldn’t agree more."
Jason Victor Sirinus, SAN FRANCISCO CLASSICAL VOICE
'The five-movement piece is dynamic, fresh and sharply played."
Stewart Oksenhorn, The Aspen Times
Together is the name of the first CD recording of the New Century Chamber Orchestra under its new director, Nadja Salerno-Sonnenberg, released on Salerno-Sonnenberg's own NSS label. This recording is an excellent opportunity to review two of the key performances of Salerno-Sonnenberg's first season with the Orchestra, the Impressions suite by Featured Composer Clarice Assad and Astor Piazzolla's The Four Seasons of Buenos Aires. It also serves as an amuse-gueule prior to the beginning of the Orchestra's 2009–2010 season in about three weeks' time.
Unfortunately, I was not able to take advantage of Assad's residency with the Orchestra until the final concert of the 2008–2009 season, when I heard the world premiere of her "Dreamscapes," for solo violin (performed by Salerno-Sonnenberg) and string orchestra. In her own notes for this work, Assad wrote about its "maze of unpredictability and uncertainty;" and, while I found that maze challenging to negotiate on first hearing, I wrote at the time that it "left me both fascinated and eager to hear it again" (which I continue to regard as high praise for any new composition). Impressions is a more approachable composition; or perhaps it just was for me, because I felt that it approached the challenge of composing for an all-string ensemble in the same spirit that Benjamin Britten had brought to his early (1937) composition of variations on a theme by his teacher, Frank Bridge. Not only is the first movement of Assad's suite an explicit set of variations; but also two of her movements use forms from the Bridge variations, a waltz and a perpetuum mobile. Furthermore, like the Bridge variations, the suite concludes by reflecting back on its very opening. Most important, however, is the way in which Assad may have taken the diversity of sonorities that Britten conceived for his variations and developed a new diversity entirely of her own making.
SF Classical Music Examiner
Stephen Smoliar
Jeff Dunn, SAN FRANCISCO CLASSICAL VOICE
“...Assad, a prominent figure in both jazz and classical composition, is a serious triple threat." Sept. 12th, 2008
Joshua Kosman, SAN FRANCISCO CHRONICLE
“Lushly film-score-ish, with echoes of black spirituals, dances from Brazilian salons of yore — and Vivaldi's sunshine. “ Sep. 12th, 2008
SAN JOSE MERCURY NEWS
"It’s good to have a recording of the NCCO’s season opener, resident composer Clarice Assad’s fine Impressions: Suite for Chamber Orchestra. Its opening theme is quite inviting, allowing more room to breathe than Piazzolla’s full-throttle assault. After the captivating second movement’s Danca Brasileira, with its echoes of Assad’s homeland, the middle movement’s lovely Slow Waltz contrasts with is grace. There’s lots of zippy energy in the challenging fourth movement Perpetual Motion, which Assad wrote to showcase what she calls in the liner notes the NCCO’s “flawless proficiency and impeccable artistry.” I couldn’t agree more."
Jason Victor Sirinus, SAN FRANCISCO CLASSICAL VOICE
'The five-movement piece is dynamic, fresh and sharply played."
Stewart Oksenhorn, The Aspen Times
Together is the name of the first CD recording of the New Century Chamber Orchestra under its new director, Nadja Salerno-Sonnenberg, released on Salerno-Sonnenberg's own NSS label. This recording is an excellent opportunity to review two of the key performances of Salerno-Sonnenberg's first season with the Orchestra, the Impressions suite by Featured Composer Clarice Assad and Astor Piazzolla's The Four Seasons of Buenos Aires. It also serves as an amuse-gueule prior to the beginning of the Orchestra's 2009–2010 season in about three weeks' time.
Unfortunately, I was not able to take advantage of Assad's residency with the Orchestra until the final concert of the 2008–2009 season, when I heard the world premiere of her "Dreamscapes," for solo violin (performed by Salerno-Sonnenberg) and string orchestra. In her own notes for this work, Assad wrote about its "maze of unpredictability and uncertainty;" and, while I found that maze challenging to negotiate on first hearing, I wrote at the time that it "left me both fascinated and eager to hear it again" (which I continue to regard as high praise for any new composition). Impressions is a more approachable composition; or perhaps it just was for me, because I felt that it approached the challenge of composing for an all-string ensemble in the same spirit that Benjamin Britten had brought to his early (1937) composition of variations on a theme by his teacher, Frank Bridge. Not only is the first movement of Assad's suite an explicit set of variations; but also two of her movements use forms from the Bridge variations, a waltz and a perpetuum mobile. Furthermore, like the Bridge variations, the suite concludes by reflecting back on its very opening. Most important, however, is the way in which Assad may have taken the diversity of sonorities that Britten conceived for his variations and developed a new diversity entirely of her own making.
SF Classical Music Examiner
Stephen SmoliarBrazilian Fanfare (2006-2008)
"The program began with a lively, polished rendition of “Brazilian Fanfare,” by the Brazilian composer Clarice Assad, in its New York premiere. Ms. Assad’s colorful, deftly orchestrated work incorporates rhythms from different regions of her native country, like the olodum from Bahia and the samba from Rio de Janeiro, and earlier styles like the waltz, with boisterous brass and percussion and sultry string interludes." April 12th, 2008
Vivien Schweitzer, The New York Times
CHATTANOOGA Times
"Brazilian Fanfare by composer Clarice Assad,throughly delighted the senses incorporating at least five different Brazilian dance style while employing winds, brass and primitive percussion. Boisterous and filled with humor, the piece skipped merrily from one infectious rhythm and melody to the next.” June 30th, 2006
CHATTANOOGA Times
"Colorful, energetic, and eminently listenable, fusing together a multitude of musical ideas in a popular idiom. Repeated performances may well contribute to making this work a familiar concert opener. " June 30th, 2006
Mel R. Wilhoit, CSO: Finnish Fusion
Vivien Schweitzer, The New York Times
CHATTANOOGA Times
"Brazilian Fanfare by composer Clarice Assad,throughly delighted the senses incorporating at least five different Brazilian dance style while employing winds, brass and primitive percussion. Boisterous and filled with humor, the piece skipped merrily from one infectious rhythm and melody to the next.” June 30th, 2006
CHATTANOOGA Times
"Colorful, energetic, and eminently listenable, fusing together a multitude of musical ideas in a popular idiom. Repeated performances may well contribute to making this work a familiar concert opener. " June 30th, 2006
Mel R. Wilhoit, CSO: Finnish Fusion
Concerto For Violin & Orchestra (2004 -2006)
"The theater world has an axiom that any given play grows longer in larger performing spaces. Clarice Assad's new Violin Concerto strangely went in the opposite direction: Though its 22-minute duration feels expansive on compact disc at home, the concerto seemed much shorter Thursday at the Kimmel Center with the Philadelphia Orchestra and Nadja Salerno-Sonnenberg. Maybe that's because you wanted more of it. This first major concert work by the 28-year-old jazz-steeped Assad is high on lyricism and charm, not so high on the kind of thematic development that could explore more aspects of her melodic inspiration. Inspired by the Samuel Barber Violin Concerto, Assad's isn't about thematic arguments between soloist and orchestra; it creates a series of abstract, thematically integrated symphonic songs - likely to be dismissed by the cutting edge and embraced by almost everybody else.The wind writing delivers welcome whiffs of Spanish/Moorish influences. The third movement puts a large variety of ideas into the same musical room, alternately making sense of their coexistence and delighting in their lack of it. True to form, Salerno-Sonnenberg was an emotional live wire, which meant everything to the Assad concerto." Sept. 2006
David Patrick Sterns, The Philadelphia Inquirer
"Receiving a standing ovation however, was the musical talent of Nadja Salerno Sonnenberg. Playing a piece specifically written for her by good friend Clarice Assad the young artist blew everyone away. Ms. Assad’s work blended classical music with chamber jazz. Setting her apart from other composers is her creative way of using native rhythm to infuse her music. Thriving on the Brazilian beats of the Concerto for Violin and Orchestra, Ms. Sonnenberg’s interpretation not only showed her musical depth but her onstage presence alluded a confidence felt by all."
Courtney Treadwell, inthespotlight.com
"...Assad's handling of the orchestra and solo violin displays a maturity and an innate sense of shape and balance that bodes well for her compositional career. "
Rocky Mountain News
"Assad’s "Violin Concerto" was the evening’s highlight. Romantic in temperament and tonal in harmony, the work, with its majestic fanfares and lively polonaises, paid homage to the world’s great violin concertos. Occasional jazz rhythms hinted at the composer’s Brazilian roots. This outstanding world-premiere concerto alerts us to watch for more from Assad.
Sentinel Correspondent
David Patrick Sterns, The Philadelphia Inquirer
"Receiving a standing ovation however, was the musical talent of Nadja Salerno Sonnenberg. Playing a piece specifically written for her by good friend Clarice Assad the young artist blew everyone away. Ms. Assad’s work blended classical music with chamber jazz. Setting her apart from other composers is her creative way of using native rhythm to infuse her music. Thriving on the Brazilian beats of the Concerto for Violin and Orchestra, Ms. Sonnenberg’s interpretation not only showed her musical depth but her onstage presence alluded a confidence felt by all."
Courtney Treadwell, inthespotlight.com
"...Assad's handling of the orchestra and solo violin displays a maturity and an innate sense of shape and balance that bodes well for her compositional career. "
Rocky Mountain News
"Assad’s "Violin Concerto" was the evening’s highlight. Romantic in temperament and tonal in harmony, the work, with its majestic fanfares and lively polonaises, paid homage to the world’s great violin concertos. Occasional jazz rhythms hinted at the composer’s Brazilian roots. This outstanding world-premiere concerto alerts us to watch for more from Assad.
Sentinel Correspondent
Three Sketches (2006)
"... a jazzy, electrifying work flecked with ancient reminiscences."
San Francisco Classical Voice
San Francisco Classical Voice
Danças Nativas (2009)
“Vibrant, sometimes rock-explosive, album tracks that mix carnival with cool.”
BBC Music
"Ms. Assad’s music is witty and cool, constantly inventive and always pleasing to the ear."
Glyn Pursglove, Music.Web.com
BBC Music
"Ms. Assad’s music is witty and cool, constantly inventive and always pleasing to the ear."
Glyn Pursglove, Music.Web.com
Bluezilian (2006-09)
"...an infectious confection of the phrases and rhythms of blues and jazz."
Glyn Pursglove, Music.Web.com
"No such problems with the multiplicity of colours in Clarice Assad’s Bluezilian. Written for the LAGQ it is a highly sophisticated mix of Brazilian and contemporary American forms, with a smoky jazz flavour."
Dan Morgan, MusicWeb.com
Glyn Pursglove, Music.Web.com
"No such problems with the multiplicity of colours in Clarice Assad’s Bluezilian. Written for the LAGQ it is a highly sophisticated mix of Brazilian and contemporary American forms, with a smoky jazz flavour."
Dan Morgan, MusicWeb.com
Confessions (2007)
"a humorous piece about the insecurities and obsessions of modern women that swings between musical theater and cabaret, with jazzy piano riffs and tango-tingered strings. "
The New York Times
The New York Times
Valsas do Rio (2003-09)
"Ms. Assad is an excellent composer with much more than stylistic feel at her disposal."
Classical Guitar Magazine
"A very skilled, intuitive composer"
Fingerstyle Magazine
"... The pianist, singer and composer Clarice Assad, daughter of Sergio Assad, illustrates her admirable compositional skills and ability to write knowledgeably and proficiently for two guitars in these three concert waltzes."
Classical Guitar Magazine
Classical Guitar Magazine
"A very skilled, intuitive composer"
Fingerstyle Magazine
"... The pianist, singer and composer Clarice Assad, daughter of Sergio Assad, illustrates her admirable compositional skills and ability to write knowledgeably and proficiently for two guitars in these three concert waltzes."
Classical Guitar Magazine