Customer Reviews

Nadja Salerno-Sonnenberg, Sergio and Odair Assad

5 star:		(8)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

Nadja Salerno-Sonnenberg is a virtuoso by any measure, and the musical prowess of Sergio and Odair Assad is astonishing. If you expect the combination of the Assad Duo with Salerno-Sonnenberg might result in a supremely gratifying treatise of what can really be done with two guitars and a violin, you won't be disappointed. This combination of great performers equals far more than the sum as this recording simply overflows with music.

His compositional and arranging abilities probably overlooked, Sergio Assad brings new excitement and possibilities to the listener in this trio setting. The Assads, far and away the best classical guitar duo, have long enjoyed Sergio's works in a duo setting. While no strangers to mixed ensembles (Odiar and Sergio have in the past coupled with Yo-Yo Ma and others), this recording raises the bar, bringing what might be the best trio ensemble CD this year. Sergio as a composer shows thorough familiarity with the possibilities the violin creates, and Sonnenberg does not disappoint. Her wondrous play weaves so easily from sultry tone to powerful insistence that one nearly forgets everything else.

Often the spirit of the tango is present (Andalucia), along with flashes of flamenco (The Chase). In (Tatras), what sounds like a dreamlike Irish melody can be heard giving way to an almost oriental song, while beautiful eastern melodies ranging from the tragic (Fantasy on Dark Eyes) to the wild (Istanbul: Awakening and Turkish Dance) are abundant. The selection of short Gypsy Songs are glimpses of both somber reflection and whimsical delight. This CD is really a joy to hear and every hearing of it seems to give something new. Refreshing compositions driven by absolutely superb playing - Very highly recommended.

Sergio Assad's clever improvisations on melodies ranging from "Dark Eyes" and Django Reinhardt's "Nuages" to traditional Russian, Slavic and Turkish melodies are beautifully rendered by this string trio. Percussion is added to some tracks, and the phantomic voice of either Nadja or another female vocalist (sister Badi Assad?) is present, nearly in the background, of one haunting song.

The complaints in some reviews here, such as grousing over a lack of discernible melodies, are largely unfounded.

Of course we don't get "Greensleeves" or "Danny Boy" or any familiar, sentimental favorites. And, of course, these tracks are not for the fans of Jim Nabors or Montovani.

But lush, romantic, and witty, dashing tunes abound. A degree of musical sophistication and experience as a listener helps. But anyone who can listen with pleasure to Keith Jarrett and Chick Corea will love this album. It's not nearly as far out as Elliot Carter's String Quartets or Crumb's "Ancient Voices of Children." Not at all, as some reviewers might lead you to believe.

The playing is virtuosic, and I am a classical guitarist and can testify with a technically educated ear. The Thomas Humphrey guitars the Assads play ( one a spruce top and one a cedar top) blend beautifully under Nadja's violin.

One is nearly tempted to make symbolic comparisons here, marking the bird of the violin singing over the ocean of melody pouring from the guitars, or some such silly thing.

Why? Because the whole performance is braided with an erotic yet intellectual chain of musical perfection tied to vital, soaring imagination.

Like the Assad Brothers' Piazzolla album, this one is a must-have for fans of contemporary acoustic music, classical guitar or simply luscious string playing. The gypsy melodies themselves are a magical enough suite to warrant buying this disk.

Like the fellow from San Francisco, I too had the rare opportunity to see Nadja Salerno-Sonnenberg perform this music live with the Assad Brothers in a small pub (in New York). I am a long time fan who travels to her concerts but until now, I had never heard her in such an intimate environment, away from the often accoustically horrible concert hall cage. Here, with the extraordinary Assad Brothers, she filled the room with an astonishing lyricism, raising gypsy spirits to life and making them dance like figures in Chagall. Every bit of that is captured on this album. The melodic theme of the folk melody Dark Eyes confirms her affinity with the Russian soul (I think of her version of the second movement of the Tchaik concerto and feel a kind of spiritual cocaine rush - why hasn't she recorded this? Somebody please do it! ). With the Assads, and particularly the arranging/composing genius of Sergio Assad, she has found perfect collaborators for her violin vocalises. I have been listening to this album non-stop since that night like a spiritual IV drip. It's worth noting that her recent movement in recordings (since her association with the Aspen Music Festival) toward trio or chamber ensemble music has brought a multitude of riches. The best album to date.

I've been a great fan of the Odair Assad's compositions since hearing the "Natsu no Niwa" (Did I get the title right?) suite they released a few years back. This album was not disappointing at all. Odair has a wonderful, lyrical sensitivity and does justice to the various Spanish folk themes, evoking fiery passion and beauty within an intimate setting. A critic once called the Assad Bros. a "four-armed guitar virtuoso," and he was right on the money with that. Ms. Salerno-Sonnenberg's playing is absolutely stunning and is perfectly on par with the Brothers' virtuosic ability. I truly hope that Odair will compose regularly, and not just for the guitar either!

We saw them live in 2nd row in San Francisco's Bimbo's club, a small and intimate setting; from up close the combination of Nadja's virtuoso play with the emotional intensity of her playing sent shivers down our spines. The interplay with the Assad brothers was very dynamic and balanced. The album captures the atmosphere of the live performance beautifully.

This is the best album of the new milenium! Nadja Salerno-Sonnenberg and the Assads have made a beautiful, touching, romantic and inspiring record. All real Gypsy music, not the stuff you hear in a cheap restaruant, each track is rich and full of passion. This is an absolute must have! BUY THIS CD! and hear for yourself, you won't be sorry!

This is a wonderful mix of guitar and violin from some of the best musicians. I often enjoy this CD. This is classical music, but I would not call it elevator music. It is lively and exciting. Nadja plays the violin so well it would make even the best violin players envious, the same with Sergio and Odair on the guitar, excellent!

I listen to this CD frequently. All of the numbers are super and the interaction of the guitars and violin are glorious.

I'm a music lover, not a critic, but I know what I like! The premise of this album caught my eye, but unfortunately, not my ear. I love traditional Middle Eastern and Indian music and have purchased several crossover albums over the years that have been fairly successful attempts to bridge cultural differences. Unfortunately, this album is not one of them.

These are certainly hightly talentd artists, but their collective interpertations of these "tunes" not only destroy their ethnicity but also their beauty.

I fail to understand the rationalization behind taking traditional tunes and warping them into some post-modern mush. Those diminished/augmented/6ths over dropped 7th clashings grate on my nerves! Sometimes I get the impression that "serious" classical artists are not permitted to play beautiful melodies lest they destroy their reputations. Guess we still have to leave that job up to the traditionalist musicians.

I was hoping that, after several listenings, this album would grow on me. No so. Sorry, the musical statements on this album go way over my head. It's headed for the resale bin.

I love Nadja, she is a goddess of the violin, in fact two days before I purchased this CD I heard her in person, but this album just falls flat. I believe that the two people who heard her and the Assads in person heard great performances, but this studio recording is lifeless. It sounds like New Age music. And the Assads are Brazilian classical guitarists with a little pinch of Gypsy flavoring, not enough to spice up the mix. If you want to hear the authentic thing, listen to Tomatito. If you want a Gypsy-classical mixture that is far more exciting than this, try Gilles Apap and the Transylvania Mountain Boys.