Information
- (01) Heitor Villa-Lobos - Carnaval das Crianças
- (08) Heitor Villa-Lobos - Choros No. 5 "Alma Brasileira"
- (09) Heitor Villa-Lobos - A Maré Encheu
- (10) Heitor Villa-Lobos - Valsa da Dor
- (11) Heitor Villa-Lobos - Saudades das Selvas Brasileiras No. 2
- (12) Heitor Villa-Lobos - Pobre Cega
- (13) Heitor Villa-Lobos - A Canoa Virou (Cirandas No. 14)
- (14) Heitor Villa-Lobos - A Lenda do Caboclo
- (15) Camargo Guarnieri - Dança Negra
- (16) Camargo Guarnieri - Ponteio No. 24
- (17) Camargo Guarnieri - Toccata
- (18) Henrique Oswald - Valse lente
- (19) Alexandre Levy - Tango Brasileiro
- (20) Barrozo Neto - Minha Terra
- (21) Oscar Lorenzo Fernández - Três Estudos em Forma de Sonatina, Op. 62
- (24) Heitor Villa-Lobos - O Gatinho de Papelão (Prole do Bebê, series II)
- (25) Claudio Santoro - Paulistana No. 1
- (26) Claudio Santoro - Toccata
- (27) Heitor Villa-Lobos - New York Skyline
- (28) Francisco Mignone - Valse élégante
- (29) Francisco Mignone - Maroca (Quatro Peças Brasileiras No. 1)
- (30) Francisco Mignone - Congada, Dança Brasileira
Nelson Freire, piano
Date: 2012
Label: Decca
https://www.deccaclassics.com/us/cat/4783533
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Freire advocates piano music from his Brazilian homeland
Nelson Freire, imperceptibly assuming the mantle of the piano’s elder statesman, is now in his late sixties. There are few works in his repertoire that he does not play better than any living pianist. Anyone who saw his appearance at this year’s Proms will have heard an artist at the top of his game playing, on that occasion, Villa-Lobos’s Mômoprecóce (loosely translated as ‘Child Carnival King’), which happens to be the one-movement piano-and-orchestra version of the suite of short pieces that opens Freire’s latest disc: Carnaval das Crianças (‘Children’s Carnival’; he omits the eighth and final piece, ‘A folia de um bloco infantil’, for the very good reason that Villa-Lobos rather inconveniently wrote it for piano duet.)
This programme is, as the booklet suggests, something of a sentimental journey for Freire, a tribute ‘to composers little known outside Brazil whose repertoire helped to shape his own musical personality’. The pieces by Netto, Levy, Oswald, Mignone – and of course Villa-Lobos – he learnt as a child. From the opening bars of ‘O ginete do Pierrozinho’, you know you’re in safe hands as Freire presents a masterclass in nonchalant playfulness, capturing to perfection the charm of a composer often criticised for being too fecund and unselfcritical but here heard at his best. Contrast that with the different sound he produces for the touching introspection of Chôros No 5, Alma Brasileira, and then again with Claudio Santoro’s Toccata and the concluding Congada by Francisco Mignone. Freire is a class act – and ‘Brasileiro’, immaculately recorded by the way, is sheer delight from start to finish.
-- Jeremy Nicholas, Gramophone
More reviews:
https://www.theguardian.com/music/2012/aug/22/brasileiro-villa-lobos-freire-review
https://www.limelightmagazine.com.au/reviews/brasileiro-villa-lobos-guarnieri-mignone-santoro-et-al-nelson-freire/
https://www.amazon.com/Brasileiro-Nelson-Freire/dp/B0085T1SEA
Nelson Freire, imperceptibly assuming the mantle of the piano’s elder statesman, is now in his late sixties. There are few works in his repertoire that he does not play better than any living pianist. Anyone who saw his appearance at this year’s Proms will have heard an artist at the top of his game playing, on that occasion, Villa-Lobos’s Mômoprecóce (loosely translated as ‘Child Carnival King’), which happens to be the one-movement piano-and-orchestra version of the suite of short pieces that opens Freire’s latest disc: Carnaval das Crianças (‘Children’s Carnival’; he omits the eighth and final piece, ‘A folia de um bloco infantil’, for the very good reason that Villa-Lobos rather inconveniently wrote it for piano duet.)
This programme is, as the booklet suggests, something of a sentimental journey for Freire, a tribute ‘to composers little known outside Brazil whose repertoire helped to shape his own musical personality’. The pieces by Netto, Levy, Oswald, Mignone – and of course Villa-Lobos – he learnt as a child. From the opening bars of ‘O ginete do Pierrozinho’, you know you’re in safe hands as Freire presents a masterclass in nonchalant playfulness, capturing to perfection the charm of a composer often criticised for being too fecund and unselfcritical but here heard at his best. Contrast that with the different sound he produces for the touching introspection of Chôros No 5, Alma Brasileira, and then again with Claudio Santoro’s Toccata and the concluding Congada by Francisco Mignone. Freire is a class act – and ‘Brasileiro’, immaculately recorded by the way, is sheer delight from start to finish.
-- Jeremy Nicholas, Gramophone
More reviews:
https://www.theguardian.com/music/2012/aug/22/brasileiro-villa-lobos-freire-review
https://www.limelightmagazine.com.au/reviews/brasileiro-villa-lobos-guarnieri-mignone-santoro-et-al-nelson-freire/
https://www.amazon.com/Brasileiro-Nelson-Freire/dp/B0085T1SEA
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Nelson Freire (born October 18, 1944) is a Brazilian classical pianist. Freire began playing the piano at age 3. His teachers in Brazil were Nise Obino and Lucia Branco, former students of a pupil of Liszt. Freire has recorded for Sony/CBS, Teldec, Philips, Deutsche Grammophon, and recently signed an exclusive contract with Decca. He has recorded commercially with Martha Argerich, with whom he shares a long-time musical collaboration and friendship. Despite being the recipient of multiple prizes and awards, Freire in general tends to avoid the limelight, publicity, and interviews.
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