This is an excerpt of Clarice Assad's arrangement of Pictures of an Exhibition by Modest Mussorgsky, performed live by the New Century Chamber Orchestra - 2008.

Pictures At An Exhibition 

Pictures at an Exhibition: - Gnomus. New Century Chamber Orchestra

Third movement of "Brasileirinhas" - a three movement piece for two guitars written for the De Stefano & De Leo guitar duo. 

Conversa de Botequim

Dans Mon Ile

Franz Schubert: Sehnsucht

2. Pássaros* 
(Clarice Assad/Daniel Basilio)
     Special Guest: Carlos Malta, pife
Arr. Clarice Assad

Clarice Assad, voice & prepared piano 
Rocky Michaelian, piano 
Galen Lemmon, marimba
Keita Ogawa, drumset, effects, percussion & bird whistles
Dawn Harms, violin
 
         CHOIR: 
Celia Maria Vasconcelos da Cunha
Luisa Peclat
Claudia Sarti
Renata Melo 
Walgra Maria
Fábio Jabur
Fábio Nogara
João Gabriel Mistura
Zezinho Só
Silvia Ferrante

Passaros (From Imaginarium)

Beatriz

Maré De Água Viva - 
Clarice Assad & Daniel Basilio 

Performed live by SOLI ENSEMBLE & Clarice Assad (voice)

Maré De Água Viva

Lembrancas

LIVE with the Symphony Parnassus - Clarice Assad, piano and voice, Keita Ogawa, percussion

Scattered: Concerto For Scat Singing, Piano &amp; Orchestra

Clarice Assad & Beat Kaestli singing "Comme en plein reve" a song by Clarice Assad & Antoine Loyer (Portuguese lyrics by Daniel Basilio)

Comme en plein reve

Clarice Assad's Arrangement of NIMROD (Elgar) for the New Century Chamber Orchestra.  

NIMROD (ELGAR) From Enigma Variations

A 'retro', very romantic composition for strings, performed by New Chamber Century Orchestra performing "Affection" From Impressions, Suite For Chamber Orchestra. 

Affection-From Impressions, Suite For Chamber Orchestra

Golijov/Upshaw Workshop

Fixation

"In her typically imaginative style, Assad has taken a dozen or so of Bach’s greatest hit tunes, from the opening of the Toccata in D Minor to “Jesu, Joy of Man’s Desiring,” and whirled them through a music processor. Some melodies are truncated and cut up, while others are spiced with dissonance in the manner of Peter Warlock’s Capriol Suite, and some are placed in playful counterpoint against each other. Much passing around of parts among the individual players allows me to point to violist Elisabeth Prior and cellist Robin Bonnell in the back rows as outstandingly strong, lyrical performers. The violins got an occasional descant accompaniment, notably a pizzicato rendering from the Well-Tempered Clavier. At one point, the cellos are running a theme from one of the unaccompanied cello suites, the violas play the “Air on the G String” over it as a counterpoint line, and the violins chip in with a fragment from a Brandenburg Concerto. Listeners who love their Bach but refuse to take him too seriously would enjoy this." 

San Francisco Classical Voice

Suite For Lower Strings Mov. 1

"In her typically imaginative style, Assad has taken a dozen or so of Bach’s greatest hit tunes, from the opening of the Toccata in D Minor to “Jesu, Joy of Man’s Desiring,” and whirled them through a music processor. Some melodies are truncated and cut up, while others are spiced with dissonance in the manner of Peter Warlock’s Capriol Suite, and some are placed in playful counterpoint against each other. Much passing around of parts among the individual players allows me to point to violist Elisabeth Prior and cellist Robin Bonnell in the back rows as outstandingly strong, lyrical performers. The violins got an occasional descant accompaniment, notably a pizzicato rendering from the Well-Tempered Clavier. At one point, the cellos are running a theme from one of the unaccompanied cello suites, the violas play the “Air on the G String” over it as a counterpoint line, and the violins chip in with a fragment from a Brandenburg Concerto. Listeners who love their Bach but refuse to take him too seriously would enjoy this."

SF Classical Voice

Suite For Lower Strings Mov. 2

Suite For Lower Strings Mov. 4

"It was thus amusing to note that Assad used her suite also to turn the tables on Bach, devising a mash-up of all the tracks from some imagined My Favorite Bach recording refracted through a series of movements, each of which takes a different approach to instrumentation. The resulting effect was probably closer in spirit to PDQ than to Johann Sebastian, but all the gags emerged through some highly imaginative writing for individual instruments that are too often dismissed as accompaniment support."

Examiner.com

Suite For Lower Strings Mov. 5

Suite For Lower Strings Mov. 3

The Book of Spells is a musical work inspired in the wonder world.   In three chapters, this first movement (scored for harp, flute, oboe, clarinet, and harp) explores one of the most common subjects of magic spell:  Love and Relationships.  The piece was commissioned by Elisabeth Remy Johnson.  Cover by Elis Ribeirete.  Illustration by Limin Dai.

From The Book of Spells:  Chapter I: The Siren's Seduction

Terra Brasilis

The Disappeared

Electrified

Flutuante

Dancas Nativas - Mov. 2 Reflective Cancao

Mercador de Sonhos

The first Movement of "The Book of Spells" by Clarice Assad.  Performed live by the Merian Ensemble.

Mov. 1: Book of Spells

Arrangement for string orchestra of Kreisler's PRAELUDIUM & ALLEGRO originally written for piano and violin, performed live in Palo Alto by the New Century Chamber Orchestra. 

Praeludium & Allegro

“… a serious triple threat… a veritable musical dynamo.” – San Francisco Chronicle

A bold composer, a brilliant pianist and an inventive vocalist all rolled into one, Clarice Assad floats freely across musical idioms, drawing on an array of sounds from Amazon forest wildlife to operatic arias. A classically-trained pianist, Assad is deeply rooted in the earthy, folkloric rhythms of Brazil, capturing the attention of international audiences with her stunning talent. The term “world music” is redundant when applied to her style, a reflection of Brazil’s musical melting pot heritage of African rhythms mixed with European melodies and harmonies. 

Popular tracks by Clarice Assad