In concert last night, what we saw is three very different ways of addressing the music and the instrument.
Nadja is an aggressive violinist, attacking each phrase from her entire body. She leans forward into every note, her tip toes firm on the floor, heels bouncing to the beat, as though she is ready to leap from the chair at any moment. She alone spoke for the trio, illuminating bits of the creative process with stories on how this piece came to being or that arrangement was created. Her speaking voice is rich, but a strong New York accent pops out, especially when acerbic, as when starting the second half while stragglers are still rushing to their seats, "like roaches caught in the light", she says. Her playing is, of course, passionate and volatile.
Odair Assad, the younger brother, dances with his guitar. Swaying gently to the music, or punctuating tight rhythms with his shoulders and posture, he sits with both feet flat on the floor, his right thigh and left hand alone supporting the guitar and neck, unlike most other guitarists, including his brother. He, like Nadia, is ready to leave his chair, (indeed, he was standing before the last notes of their Copland "Rodéo" encore ended) not to insist on his music, but to dance with his instrument. His playing is elegant and charming.
Sérgio, though, holds his guitar very close to his body, his left foot on a small riser, supporting the guitar with both thighs and left hand close to his chest, his face hovering just over the shoulder of the instrument, if not actually resting on it. He moves little, only head and hand. At first, this seems like a lover's embrace, but as the evening continues, you see that the guitar not another being or an extension of himself, but it is his very self that he strums for music. He is touching his own centered soul and music comes out. His playing rich and sonorous.
Singers and actors master all three styles and more to perform effectively. Rare are classical instrumentalists who are so physically engaging, even sitting still. Their motions were genuine and expressive, although no two of the players moved the same. No recording, even one of a concert, fully shows this. For seeing this yourself, go to concerts. For hearing it, there is an Instant Encore offering of this concert, but it is not the three players or even the instruments we heard. For that, there are recordings.
