Without the slightest doubt Nelson Freire is one of the most outstanding living pianists, and yet his fame is not as widespread as we might reasonably expect. Inexplicably, his last solo studio recordings were made almost a decade ago, even though Freire is presently in top pianistic shape. A close friend and favorite two-piano partner of Martha Argerich, the Brazilian pianist certainly suffers from his lack of interest in the recording medium, as well as from his love for his native country and subsequent distaste for long, hectic concert tours. An interesting interview included in the booklet tells more about the Brazilian pianist’s colorful personality. The publication of these live recordings does justice to his immense talent.
Variable as it is (the tapes come from four different concerts, recorded between 1971 and 1994), the quality of sound respects Freire’s bold, lush, richly resonant, hyper-sensual sonority. Furthermore, the recordings perfectly capture his free wandering, spontaneous, lyrical style in all its wild beauty. Schumann’s Symphonic Etudes flow in one single, big gesture, displaying implacable logic from one variation to the next (Freire ideally integrates two of the posthumous Etudes), and extensively uncovering each variation’s specific feelings. Papillons similarly finds unity in diversity, displaying astonishing refinement, range of tone, and pungent wit despite the less-than-ideal open-air recording location. The three Chopin selections reveal all of Freire’s stylishness and fluent virtuosity. His magic singing tone transfigures the dreamy Andante spianato, while his phenomenal agility gives the Grande Polonaise the right amount of excitement. Two Bach transcriptions from Busoni and Siloti complete this reconstituted recital on a grandiose, meditative level.
