The legendary Brazilian pianist Nelson Freire specializes in the 19th century and has turned to recording Bach in his eighth decade, apparently for the first time. All you can say is that it was worth the wait. His Bach is typically restrained, not unaware of the long tradition of Bach piano performances, but decidedly unlike anyone else's approach. In general, Freire is pianistic without applying a lot of pedal. It's there, but it applies only the slightest shades, and it can fade away quickly. Instead, Freire applies a ...
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The legendary Brazilian pianist Nelson Freire specializes in the 19th century and has turned to recording Bach in his eighth decade, apparently for the first time. All you can say is that it was worth the wait. His Bach is typically restrained, not unaware of the long tradition of Bach piano performances, but decidedly unlike anyone else's approach. In general, Freire is pianistic without applying a lot of pedal. It's there, but it applies only the slightest shades, and it can fade away quickly. Instead, Freire applies a great variety of attacks and textures, all subtle and well considered. The program falls into three parts, the first two interlocking. There is a pair of big quasi-improvisatory pieces, the Toccata in C minor, BWV 911, and the Chromatic Fantasia and Fugue in D minor, BWV 903. These don't get their usual epic quality, but they get something else instead: an uncanny, even spooky interiority, an entrée into their existence as improvisatory works. There are two dance-suite pieces, the...
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