NYFOS logo

Edu Lobo/Chico Buarque: Beatriz

Brazilian-American composer/vocalist/pianist Clarice Assad, a NYFOS Next curator and featured composer on our mainstage series in recent years, performs the Brazilian classic “Beatriz” with her father Sergio Assad on guitar.

Clarice Assad: Disseram que eu voltei Americanizada

Here’s another video from Clarice Assad. The things she does with her voice are mind-blowing! Percussive, colorful, lyrical, and full of personality. This video speaks for itself. I hope you enjoy it as much as I did!

Clarice Assad: Alas

Clarice Assad constantly surprises and delights me with her inventive audio-visual offerings. I discovered this music video and I absolutely love it! Check out her crazy vocal effects around 1:28 and appreciate all the vocal colors that feel like instruments layered throughout. I can’t put it any better way: she’s just cool.


In late 2017, Michael and I were busy trying to finalize the 2018–2019 NYFOS season. We had settled on the W. C. Handy project, and we were thinking about celebrating a famous poet on a later evening. (That poet turned out to be García Lorca, featured in our April 24 program.) But the third show remained a mystery. Then I heard the December NYFOS Next concert down at Elebash Hall. That program was devoted to Leonard Bernstein and other composers who had been influenced by him, and it included Daniel Sabzghabaei’s At the Door. I was transfixed by Daniel’s music, filled with the fascinating sonorities in the piano—including the visual frisson of seeing the piano lid raised all the way to 90 degrees, functioning as the barrier between the lovers—and an imaginative, daring use of the human voice. I told Michael, “We have got to bring that music to our mainstage series. Everyone needs to hear Daniel’s—what is it, a cantata?” At first we thought of pairing At the Door with other stories of thwarted lovers, picking up on the work’s story. But we saw a more interesting possibility, something to address our current national quandary about welcoming people of other nationalities into our country. Daniel is Persian-American, and At the Door is set to a poem in Farsi. NYFOS has ventured far afield in its 31-year history—a couple of years ago we did a song in Zulu. But it was time to open our borders even further, and Daniel Sabzghabaei proved to be our passport.

The debate on immigration to America was in the headlines when we first discussed tonight’s program and, as we predicted, the debate has continued with full-blown xenophobia on the extreme right, and conciliatory entry quotas on the other side. America was once proud to be a melting pot. Suddenly we are being told that the national food is to be Wonder Bread. To shed some light on the issue, we decided to celebrate a group of new American citizens and first-generation composers who work and reside in the U.S. Our roster includes professors at distinguished universities and award-winning performers: Brazilian-American, Chinese-American, Persian-American, and Puerto Rican (culturally hyphenated, if not technically). All of them are active in the ongoing development of our nation’s music, character, and ethos. Their musical voices span two generations, and draw deeply from their varied geographic and cultural origins. Tonight we are proud to celebrate their work as we revel in the new sonorities and rhythms they bring to American music. We look forward, with some hope, to a day when artists from everywhere might have the freedom to work wherever they like, and be welcomed with open arms in America.
—Steven Blier, with Michael Barrett

Elementos (Elements) (2010)
Music by Clarice Assad / Text by Daniel Basilio

All the songs in ELEMENTOS were born out of some kind of personal pain: pain that turns into introspection or fuel for change, heartbreak giving way to happiness, or heartache forcing us to make life-decisions. Written between 1998 and 2010 and conceived with an operatic female voice in mind (though I had never met an opera singer when I sketched the first tune), they were just a way of coping with life. I left them in a drawer along with many other pieces, but I was thankful I’d saved them when I met lyricist Daniel Basilio. Basilio, inspired by the stories, wrote words to draw the connections between human emotions and the four elements: earth, fire, water and air.

They do not appear in chronological order. I began humming “Esconderijo,” the finale one day, when I was about 20 years old, when things felt just right after a long dark period. At 26, I wrote “Maré de Água Viva,” the water movement, a painful realization that life was made up of permanent change. “Flor de Lã” and “Fogaréu” I wrote at 32, during a confusing time of loss and fear. Writing the music eventually set things into motion, forcing an imaginary bridge-burning after a wounding experience.

In 2016, the San Antonio-based SOLI ensemble commissioned a chamber version of this piece and invited me to perform with them. It was a great experience and began a beautiful collaboration between us. But tonight— so many years later—will be the first time these songs come to life the way I had first imagined them—for mezzo-soprano and piano.
—Clarice Assad

Three Chinese Love Songs (1988)
Traditional Chinese Folk Poetry / Translation to English by Bright Sheng

Three Chinese Love Songs was requested by Seiji Ozawa as one of the commissioned works for the celebration of Leonard Bernstein’s 77th birthday at Tanglewood in August 1988. Prior to this, I had just finished a large orchestral work for the New York Chamber Symphony entitled H’un (Lacerations):  In Memorium 1966–1976, a work about the “Cultural Revolution” in China. I composed H’un around the interval of the minor second instead of using any kind of melody or tune. Since it is about a tragic period in China, the work sounded harsh and dissonant, creating the drama and expressiveness I wished to evoke.

At the same time, the inevitable call for the search of tonality in my writing, though not necessarily in the sense of triads, was increasing daily. I needed to write something quite different. The Tanglewood commission was an opportunity that enabled me to fulfill this need and to explore other compositional ideas. Setting Chinese folk songs seemed natural and appropriate.

Three Chinese Love Songs was premiered on August 26th, 1988, on a program entitled “Tributes in Song to Leonard Bernstein” at Tanglewood. The performers were Lisa Saffer, soprano, Barton Fine, viola, and Yehudi Wyner, piano.
—Bright Sheng

At The Door (2017)

This setting of Rumi’s Ghazal 436 is an intimate scene for high voice, medium voice, and piano which focuses on the bond between the the Lover and the Belovéd; a tenant which pervades not only much of Rumi’s output, but many of his Sufi contemporaries and is a focal point of Sufism as a whole. In this mystical sect of Islam, the relationship between the Lover and the Belovéd is a deep and extremely personal one for each of us. We, as the Lover, all desire oneness with the Belovéd yet are consistently unable to achieve this true unison of body, spirit, consciousness, psyche, and self. The Belovéd takes on different meanings for each of us; however, what remains consistent is the desire for oneness with that which is unattainable; the Belovéd is the amalgamation of intimacy. In this scene, these two figures converse separated by a door, the Lover requesting entry to the Belovéd’s abode, and the Belovéd questioning the Lovers intentions. While the two consistently come very close to each other, a true unification is never achieved, only brief spurts of fleeting sensuality and passionate intimacy abound, the ever present Door separating the two incessantly, the oneness constantly fleeting into the ether.
—Daniel Reza Sabzghabaei

33 Suenos (33 Dreams) (2018) American Premiere
Music by Roberto Sierra (b. 1953)
Poetry by Juan Carlos Garvayo / Translation to English by D. P. Snyder

During one of my visits to Spain, Juan Carlos Garvayo, my friend and collaborator of many years, handed me a book titled 33 Sueños with his name inscribed as the poet. For over two decades, he has premiered and performed many of my works but I had no idea he wrote poetry. I took the volume back with me to the USA, and once I had the chance to glance through it, I immediately decided to set all the poems for baritone and piano. Juan Carlos’ poetry immediately spoke to me; the oneiric aspect of the poems connected with my music—a term the often appears in my works is “like a dream”. The writing process was vertiginous, as one poem led to the next, in fact as in a dream.
—Roberto Sierra

Edu Lobo & Chico Buarque: Beatriz

Edu Lobo and Chico Buarque are two of Brazil’s most celebrated artists of all time. I chose this video with my father and me performing this song because every other recording of this amazing tune is so overly produced with heavy arrangements and strings;  I just wanted to really savor the complexity of this song by keeping it as simple as possible. And what could be more raw than guitar and voice?

Bob Telson: I’m Calling You

When I first heard this song and saw this movie, I was maybe 10 years old, and lived in the middle of nowhere:  a rural part of the third world country Brazil, where culture was really hard to come by. I managed to lay my hands on a pirate copy of this movie and the video looped for days on our newly acquired VHS machine. What a song, what a desert, what a beautiful story. Had I ever heard a voice like that ? NO.  It is one of those things I will never forget.

“I’m Calling you” (From the movie Badgad Cafe)

Gino Paoli: Senza Fine

I heard Gino Paoli’s “Senza Fine” for the first time in a TV series in Brazil.  It was sung by Italian singer Ornella Vanoni in a very sexy arrangement that I loved back then, but soon started sounding quite dated. Years later, a Brazilian singer named Zizi Possi recorded a beautiful and more timeless version of the tune, mixing in a bossa nova accompaniment, while still masterfully retaining the authenticity of the song.

Jacques Brel: La Valsa a Mille Temps

I went to France several times as a kid and ended up living there at the age of 15, having been introduced to the wonderful music of Jacques Brel. Though not a Parisian himself (Brel was born in Belgium), he contributed much to our idea of what is a “French” sound today. Brel wrote many songs in his short life, and this is one of my favorites, both for its poetry and for his complete mastery over the language.  It is unreal what he does closer to the end of the song as it gets faster and faster …

M. Trejo / A. Piazzolla: Los Pájaros perdidos

I love the melodic and harmonic sound world of Piazzolla, which is uniquely his own.  This is to me the ultimate recording of this song:  it features  Italian actress/singer Milva, Astor Piazzolla himself and his incredible band. The way the song builds and builds and builds … is just too powerful for words. It always leaves me wanting more.

Clarice Assad


May’s Artist of the Month is the dynamic composer, pianist and vocalist Clarice Assad. Join her on Friday, May 4, when she curates and hosts a NYFOS Next evening focused on Brazilian song.

You are very active as both a composer and a performer. How do you balance those different disciplines as you move through your career? 

I am 100% musically obsessed and I love sharing this passion with people both as a creator of music and as an interpreter.

Do you approach composing any differently when you write for yourself versus composing for other musicians?

When I write for myself, I am aware of my own qualities and limitations as a performer.  Also, I know what makes my heart soar when I listen to a piece of music. When writing for other musicians, I want to learn everything I can about them, to find what they love, and what comes naturally to them.

You are particularly known for composing for voice. How do you approach vocal writing?  How does it differ from how you write for other instruments?

Being from Brazil—a country with such a vast history of songwriting, has influenced my writing from the beginning. Melody and song are a vital part of me, and these show up on my writing everywhere, even symphonic works, which I think of as a series of abstract, thematically integrated symphonic songs.

You come from a family of remarkable musicians. How has that influenced your development as an artist?

My family has been such an inspiration to me. My father and uncle for their amazing chops and interpretative genius; my father’s arrangements and compositions never ceased to amaze me—and my aunt’s rebellious, unapologetic musical persona has always lifted up my spirit.  I have naturally absorbed quite a bit from all of them over the years, though always keeping in mind (and being encouraged by them) to always keep an eye on developing a musical character of my own.

Your NYFOS Next evening on May 4 is particularly focused on Brazilian song and its diversity of styles across the country; how did you choose what to include in your program?

Brazilian music is so rich, I spent months thinking about how to approach it for this one special concert. In crafting the program, I thought about two main elements: pioneers & legacy. Pioneers like Luiz Gonzaga who popularized musical styles such as forró and baião; Gilberto Gil, one of the first songwriters to set forth a musical style blending songs with traditional African, like afoxé.  Regarding legacy: All the women composers in the program have been somewhat influenced by the female composers who preceded them;  women who had to fight to break free from certain rules of their times in order to be recognized as ‘composers.’  Chiquinha Gonzaga (early 20th century), influenced Dolores Duran (40’s-50’s), who influenced Sueli Costa, Joyce and Ana Terra (70s – present) who influenced composers from my generation and beyond.

Are there any popular musicians of today that you listen to or who you think are doing interesting work?

There are many of them, and one in particular who is in the program. His name is Thiago Amud, a fantastic songwriter, singer and guitarist who has a very unique, fresh composing language. This is not the first time I am playing his music, we have also performed other works of his. What a talent.

What was the last music you listened to before answering these questions?

I was listening to a beautiful song by a Brazilian singer-songwriter called Ilessi. The song is called ENIGMA. She is also another huge emerging talent in the Brazilian music scene.

When you aren’t making music, what is your favorite way to spend your time?

So many things… I love eating out, going to movies, take long walks listening to music or audiobooks and every summer I try a something for fun, this year will be skating around Chicago when the weather is nice enough.

NYFOS is devoted to ‘song’ and the wide variety of styles that term encompasses. What is special about ‘song’ to you? Is there anything about this particular form that is significant to you?

When I think of songs I think of many things. I feel its melody, harmony, I think of singers, faces and voices. I also think of them as these short, memorable, concise pieces of music that are self-contained, where two worlds come together to become one. It’s the perfect marriage of words and music.

What is your favorite song?  (Qualify your answer to this possibly impossible question as needed.)

I have many favorite songs! I think I might have a favorite song every week. My current favorite song is Red soil in my eyes, by Somi.

New York Festival of Song • One Penn Plaza • #6108 • New York, NY 10119 • 646-230-8380 • info@nyfos.org