San Francisco Classical Voice

That word “crossover” seems too glib, too populist, too easy a pigeonhole for Salerno-Sonnenberg and The Assads. Yet, that is how music marketers often describe their collaboration. Strikingly innovative and superbly gifted soloists, the three artists appear to be evolving the classical music genre more than straying from it into a hybrid form. A glance at the program reveals that Sergio Assad has arranged all but two short sections for the trio, one of those a scintillating composition by his daughter, Clarice.

Soon it dawns that Sergio's arrangements play a critical role in the trio's success. He fashions reinterpretations of gypsy songs, pieces by Piazzolla and Ginastera, a Bach sonata and Bartók's Romanian Folk Dances that are impeccably tuned to the three of them, showcasing their individuality, unity and originality. His arrangements emphasize the group's formidable three-ness, their “one for all and all for one” commitment to one another.

An unusual but captivating arrangement of Bach's Sonata in E Major, BWV 1016, written at Salerno-Sonnenberg's request, deconstructed the original keyboard role into accompaniment for violin by the two guitars. The Assad brothers, who have been playing together since early childhood, managed to convey themselves as a single effervescent voice in a duet with the violin. Salerno-Sonnenberg clearly relished this exercise, which provided Carmel Music Society patrons with a familiar classical sound.

A brilliant and supple translation of Bartók's Romanian Folk Dances for the trio supplied a second classical touchstone, also originally scored for violin and piano. The Bartók made a sizzlingly satisfying finale, with its vibrant melodies echoing the Gypsy theme that continues to inspire the three virtuosos. From the opening suite of Gypsy Songs by Sergio, it became apparent that Salerno-Sonnenberg meticulously tempers the volume of her instrument to accommodate to the softer guitars. The intensity and dynamism of her playing remained undiminished, however, as lovely pianissimos would give way to fiery, edgy emotions matched impeccably by the lush, rhythmic perfection of the guitars.

Of the program's two Argentinean tangos by Angel Villoldo, “El dia que me quieras” proved a heart-meltingly exquisite piece performed with soulful ease by the three partners in strings. More South American flavors emerged with Sergio's taut, complex transcriptions of Ginastera's Danzas Argentinas and two bewitching pieces by Astor Piazzola, whose compositions seem to be attracting a wider audience nowadays. Sergio's arrangement of Charlie Chaplin's early film music provided a fresh and unexpected treat.

The inclusion of young Clarice Assad's “Three Sketches” — a jazzy, electrifying work flecked with ancient reminiscences — supported Salerno-Sonnenberg's amusing claim that members of the prodigiously talented Assad family are actually musical “mutants” with special powers. The final knockout punch arrived as the trio's single encore of “Dueling Banjos” from the film Deliverance. Only here the banjos morphed into Salerno-Sonnenberg's magnificent Guarneri violin fencing with Odair's gorgeous modern acoustic guitar with four Assad hands flying over the strings as if moving from one body.