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Piano solo - Verschenen op 1 januari 2002 | Decca Music Group Ltd.

Onderscheidingen Diapason d'or de l'année - Diapason d'or - Choc de l'année du Monde de la Musique - Choc du Monde de la Musique - 3F de Télérama - 10 de Classica-Répertoire - Grand Prix de l'Académie Charles Cros
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Klassiek - Verschenen op 25 augustus 2017 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - 5 Sterne Fono Forum Klassik
The title Brahms might seem an odd one for this collection of Brahms piano pieces, containing one piano sonata and an assortment of 12 short pieces, mostly from the end of the composer's life. Yet the program does cover a good deal of Brahms' keyboard thinking: piano compositions, except for variation sets, are sparse during his middle years. The Piano Sonata No. 3 in F minor, Op. 5, dates from 1853, when Brahms was 20: it is youthful music par excellence, with five movements and a shifting set of moods that pose interpretive challenges for the pianist. Freire has been playing the sonata since his teenage years, and he manages to make the music sound deliberate and inevitable despite its rather feverish intensity. With the exception of the final Waltz in A flat major, Op. 39, No. 15, Freire plays the rest of the music chronologically. The listener has the sense of being drawn into a vortex of complexity as each work seems to explore new structural possibilities. You could sample almost anywhere, but try the uniquely flexible tonal implications of the first of the four Klavierstücke, Op. 119, a work that shows clearly why the "conservative" Brahms was so beloved by the 12-tone composers to come. The only possible way you might not like Freire's deeply thought-out, precise performances of these is if you like your Brahms on the warmer side, but the dispassionate, investigative way Freire has it is probably the fastest way into these works that really take a lifetime to appreciate. A major Brahms release, with sympathetic engineering from Decca at the Friedrich-Ebert-Halle in Hamburg. © TiVo
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Klassiek - Verschenen op 1 maart 2000 | INA Mémoire vive

Onderscheidingen 5 de Diapason - Choc du Monde de la Musique - 10 de Répertoire - Recommandé par Classica
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Klassiek - Verschenen op 21 augustus 2012 | Decca Music Group Ltd.

Booklet Onderscheidingen Diapason d'or - Choc de Classica - Uitzonderlijke Geluidsopnamen
While Nelson Freire is world famous as an interpreter of the keyboard music of Frédéric Chopin, he is well known in Brazil as a brilliant exponent of the music of Heitor Villa-Lobos and other composers of his country. Brasileiro is a 2012 release on Decca that explores Freire's lifelong relationship with his compatriots' music, and reveals him to be as eloquent in their colorful pieces as he is in the European classics. Serving up a generous program of solo piano music by Villa-Lobos, Camargo Guarnieri, Henrique Oswald, Alexandre Levy, Joaquim Antônio Barrozo Netto, Oscar Lorenzo Fernández, Claudio Santoro, and Francisco Mignone, Freire demonstrates that it is all highly sophisticated fare, often as cosmopolitan as it is concentrated with local flavors. Villa-Lobos certainly reflects both in his charming character pieces, which show a blending of dreamy impressionism with witty neo-classicism, while the dance impulse is particularly strong in many of the selections by other composers, along with suggestions of Brazilian folk songs and moody scene painting. The sound of this recording is generally soft and warm, suffused with a resonant ambience that lends a special glow to Freire's playing, though without blurring his crisp attacks and lively rhythms. © Blair Sanderson /TiVo
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Klassiek - Verschenen op 18 oktober 2019 | Decca Music Group Ltd.

Hi-Res Onderscheidingen 5 de Diapason - Choc de Classica
This release, issued to mark the 75th birthday of the great pianist Nelson Freire in 2019, is hardly a typical album of encores. A good deal of it is devoted to a single composer, Edvard Grieg. Other composers are represented by multiple works, and there are substantial pieces like the Rachmaninov Prelude in B minor, Op. 32, No. 10, that would not fill the role of encore well. You might take the word "encore" in another way, though: to mean things reprised. Many of these pieces are ones Freire knows well, has played many times, and has explored at a truly breathtaking level of detail. The Grieg Lyric Pieces are not virtuoso works, and indeed are often played by amateurs, but you haven't heard them played like Freire plays them, with each one a little study in phrasing and register. You could sample almost anywhere here, but try the first of the Shostakovich Fantastic Dances, Op. 5, which has an entrancing subtlety from the very first notes. Freire, a famed virtuoso, mostly avoids showpieces here, but, as if to say he hasn't lost the ability, he does drop some in. The album is, then, an encore to Freire's remarkable career, which isn't over yet. © TiVo
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Klassiek - Verschenen op 1 maart 2010 | Decca Music Group Ltd.

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 19 januari 2015 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen 4 étoiles Classica
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Klassiek - Verschenen op 30 september 2014 | Decca Music Group Ltd.

Hi-Res Booklet Onderscheidingen Choc de Classica
Beethoven's Piano Concerto No. 5 in E flat major, Op. 73 ("Emperor"), was the first piece Brazilian pianist Nelson Freire played in public, at the age of 12. He returned to it in 2014, at the beginning of a new Beethoven cycle, and the results are quite attractive. His reading avoids the gigantism and formal flourish implicit in most performances of the "Emperor," but it's not an anti-heroic interpretation. Instead, Freire steps back slightly and allows greater articulation of the piano's sweeping phrases in the opening movement. Such an approach fits well with the finale, whose dance-like qualities are thus permitted to emerge, and it also allows Freire to display his considerable lyrical gifts along the way. The program seems an odd coupling: a concerto and a sonata, one of Beethoven's most public works joined to one of his most inward. But in Freire's reading the pairing works well. The Piano Sonata No. 32 in C minor, Op. 111, as transcendent as it is, can also be read as a virtuoso work of Beethoven's unique kind, where all the virtuoso passagework contains secrets of its own, and here it serves the function of ringing the curtain down with luminous peace after the mighty concerto. A worthy, slightly unorthodox pair of performances from an underappreciated veteran of the piano. © TiVo
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Klassiek - Verschenen op 1 januari 2006 | Decca Music Group Ltd.

Onderscheidingen Gramophone Record of the Year
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Concerten voor klavier - Verschenen op 11 augustus 2017 | audite Musikproduktion

Hi-Res Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 1 januari 2011 | Decca Music Group Ltd.

Onderscheidingen Gramophone Editor's Choice
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Klassiek - Verschenen op 6 oktober 2014 | Decca Music Group Ltd.

Booklet Onderscheidingen 5 de Diapason
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Klassiek - Verschenen op 4 maart 2016 | Decca Music Group Ltd.

Hi-Res Booklet
The great Nelson Freire waited until 2015, at the venerable age of 71 years young, to fully dedicate a record to Johann Sebastian Bach. Rather than attacking one genre, or one group, he prefers to offer up a cleverly conceived panorama of great original compositions, as well as transcriptions for piano based on his pieces for organ and vocal works. The transcripts are those of Alexander Siloti, Ferruccio Busoni or Myra Hess. As a bonus, we discover an example of a transcription of Bach himself - but from a colleague, Marcello in this case. Obviously, the transcription style of Bach vs. those of Siloti, Busoni and Hess differ radically, if only by the fact that the latter three were made for a modern piano, while Bach transcribed from Marcello's chamber orchestra to end up with a sole harpsichord. Nelson Freire, who plays the original pieces of Bach or quasi-romantic transcriptions, delivers a speech with full transparency here, allowing the listener to marvel in the polyphonic complexity of this timeless music. © SM/Qobuz, Translation/BM
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Klassiek - Verschenen op 1 januari 2003 | Decca Music Group Ltd.

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Klassiek - Verschenen op 1 januari 2009 | Decca Music Group Ltd.

Booklet
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Klassiek - Verschenen op 4 maart 2016 | Decca Music Group Ltd.

Booklet
The great Nelson Freire waited until 2015, at the venerable age of 71 years young, to fully dedicate a record to Johann Sebastian Bach. Rather than attacking one genre, or one group, he prefers to offer up a cleverly conceived panorama of great original compositions, as well as transcriptions for piano based on his pieces for organ and vocal works. The transcripts are those of Alexander Siloti, Ferruccio Busoni or Myra Hess. As a bonus, we discover an example of a transcription of Bach himself - but from a colleague, Marcello in this case. Obviously, the transcription style of Bach vs. those of Siloti, Busoni and Hess differ radically, if only by the fact that the latter three were made for a modern piano, while Bach transcribed from Marcello's chamber orchestra to end up with a sole harpsichord. Nelson Freire, who plays the original pieces of Bach or quasi-romantic transcriptions, delivers a speech with full transparency here, allowing the listener to marvel in the polyphonic complexity of this timeless music. © SM/Qobuz, Translation/BM
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Klassiek - Verschenen op 15 januari 2016 | Sony Classical

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Klassiek - Verschenen op 1 januari 2005 | Decca Music Group Ltd.

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Klassiek - Verschenen op 6 augustus 2021 | Warner Classics

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Klassiek - Verschenen op 18 oktober 2019 | Decca Music Group Ltd.

This release, issued to mark the 75th birthday of the great pianist Nelson Freire in 2019, is hardly a typical album of encores. A good deal of it is devoted to a single composer, Edvard Grieg. Other composers are represented by multiple works, and there are substantial pieces like the Rachmaninov Prelude in B minor, Op. 32, No. 10, that would not fill the role of encore well. You might take the word "encore" in another way, though: to mean things reprised. Many of these pieces are ones Freire knows well, has played many times, and has explored at a truly breathtaking level of detail. The Grieg Lyric Pieces are not virtuoso works, and indeed are often played by amateurs, but you haven't heard them played like Freire plays them, with each one a little study in phrasing and register. You could sample almost anywhere here, but try the first of the Shostakovich Fantastic Dances, Op. 5, which has an entrancing subtlety from the very first notes. Freire, a famed virtuoso, mostly avoids showpieces here, but, as if to say he hasn't lost the ability, he does drop some in. The album is, then, an encore to Freire's remarkable career, which isn't over yet. © TiVo