Nelson Freire

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Nelson José Pinto Freire (Script error: No such module "IPA".; 18 October 1944 – 1 November 2021) was a Brazilian classical pianist.

A child prodigy from Minas Gerais, he studied in Rio de Janeiro and Vienna before winning the Vianna da Motta International Music Competition in 1964. His repertory ranged from Bach and Beethoven to Chopin, Schumann, Brahms, Debussy, Liszt and Brazilian music, with the Romantic repertory occupying a central place in his recordings.[1][2]

Freire performed with major orchestras in Europe, the Americas and Asia, and worked with conductors including Pierre Boulez, Riccardo Chailly, Charles Dutoit, Valery Gergiev, Eugen Jochum, Lorin Maazel, Kurt Masur, Seiji Ozawa and André Previn.[2] He was also closely associated with Martha Argerich, a friend and frequent piano-duo partner.[3]

His recordings were released by labels including CBS/Columbia, Sony, Teldec, Philips, Decca, Deutsche Grammophon and Berlin Classics. They received awards including the Edison Award, the Gramophone Award, the Diapason d'Or, the ECHO Klassik and a Latin Grammy Award, and he received three Grammy Award nominations.[2][4][5]

Early life and education

Boa Esperança, Minas Gerais, where Freire was born in 1944

Freire was born in Boa Esperança, Minas Gerais, on 18 October 1944. He grew up in a household with a piano and began playing by ear as a small child, first imitating music played by his older sister Nelma.[1][6] Concert biographies usually place the beginning of his piano studies at the age of three; Freire himself later remembered that he began playing at four.[7][6] He gave his first public performance as a child, playing Mozart's Piano Sonata in A major, K. 331.[2][7]

Before his family settled in Rio de Janeiro, Freire was taken once a week to lessons with a teacher who lived several hours away from Boa Esperança. After a short period, the teacher advised the family that the child needed more advanced training in Rio, then Brazil's capital.[8] Freire moved there with his family when he was about six. His father, a pharmacist in Boa Esperança, gave up that work and took a bank job so that the family could remain in Rio while Freire continued his studies.[6][8]

In Rio, Freire studied with Lúcia Branco and Nise Obino. Branco had studied with Arthur De Greef, a pupil of Franz Liszt, and Obino was one of Branco's pupils and assistants.[6][8] Freire later described Obino as the teacher who rebuilt his playing from the beginning, including his hand position at the keyboard, and credited her with the most important musical relationship of his early life.[8] His parents also kept him in ordinary schooling rather than treating him only as a prodigy; he later remembered practising only a few hours a day as a child.[8]

In 1957, at the age of twelve, Freire played Beethoven's Piano Concerto No. 5, the "Emperor", at the Rio de Janeiro International Piano Competition.[2][7] The competition placed him among older and more experienced pianists, and he reached the final round.[8][6] The performance brought him a Brazilian government scholarship to study abroad.[2][7] Freire chose Vienna so that he could work with Bruno Seidlhofer, an Austrian pianist and teacher whose pupils included Friedrich Gulda.[2][8]

Freire left for Vienna at fourteen, travelling with Seidlhofer and living outside Brazil for the first time without his parents.[8] The period in Vienna gave him greater independence and brought him into contact with a wider European musical world. There he met Martha Argerich, who became one of his closest friends and musical partners.[9][8]

Career

Early international career

Sala São Paulo, where Freire appeared during Brazil's Chopin bicentenary commemorations

Freire's international career began in 1959, when he was still in his teens, and soon included appearances in Europe, the United States, Central and South America, Japan and Israel.[2][10] In 1964 he won first prize at the Vianna da Motta International Music Competition in Lisbon, shared with Vladimir Krainev, and received the Dinu Lipatti and Harriet Cohen medals in London.[2][11][12]

The Lisbon prize led quickly to further engagements abroad. He accepted an invitation to replace Alexander Brailowsky in Mexico, and his first concerts in Spain followed in 1965, with appearances in Valencia, Elche, Madrid and Las Palmas de Gran Canaria.[6] By the late 1960s he had begun to appear in major European and American musical centres. He made his London debut at twenty-three, and the following year made his New York debut with the New York Philharmonic.[12] His early concerto repertory, later represented in archival broadcasts and reissues, included works by Beethoven, Schumann, Chopin, Grieg, Liszt, Tchaikovsky, Rachmaninoff and Prokofiev.[13][14]

Orchestras, conductors and recital work

Over the following decades Freire performed as recitalist, concerto soloist and chamber musician. His engagements included appearances with European orchestras such as the Berlin Philharmonic, Gewandhaus Orchestra, Munich Philharmonic, Bavarian Radio Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Royal Concertgebouw Orchestra, Rotterdam Philharmonic Orchestra, Danish Radio Symphony Orchestra, St Petersburg Philharmonic Orchestra, Tonhalle-Orchester Zürich, Vienna Symphony, Royal Philharmonic Orchestra, London Symphony Orchestra, BBC Scottish Symphony Orchestra, BBC Symphony Orchestra, Czech Philharmonic, Orchestre National de France, Orchestre de Paris, Orchestre National du Capitole de Toulouse, Orchestre Philharmonique de Radio France and Orchestre de la Suisse Romande.[2][10][12]

In the Americas he appeared with orchestras including the Baltimore Symphony Orchestra, Boston Symphony Orchestra, Chicago Symphony Orchestra, Cleveland Orchestra, Los Angeles Philharmonic, Montreal Symphony Orchestra, New York Philharmonic and Philadelphia Orchestra.[2][12] He also performed with the Israel Philharmonic Orchestra, the Seoul Philharmonic Orchestra and the NHK Symphony Orchestra in Tokyo.[2]

His conductor partnerships included Pierre Boulez, Riccardo Chailly, Myung-whun Chung, Colin Davis, Charles Dutoit, Valery Gergiev, Eugen Jochum, Rafael Kubelík, Rudolf Kempe, Fabio Luisi, Lorin Maazel, Kurt Masur, Ingo Metzmacher, Václav Neumann, Seiji Ozawa, André Previn, Yuri Temirkanov and David Zinman.[2][12] With Kempe and the Royal Philharmonic Orchestra, Freire toured in the United States and Germany.[2] In later interviews he also described Chailly, Gergiev and Temirkanov as conductors with whom he had worked comfortably.[6]

Freire's recital programmes ranged across Classical, Romantic, French, Russian and Brazilian repertory. A Miami recital from 1984 included Mozart, Chopin, Debussy, Villa-Lobos, Albéniz, Godowsky and Rachmaninoff, while a later seventy-fifth birthday programme at the Concertgebouw included Scarlatti, Godowsky, Handel, Brahms, Liszt and Grieg.[6] He continued to favour mixed programmes late in life, often placing large works beside miniatures and encore pieces.[10][6]

Festivals, competitions and public engagements

Freire played at the BBC Proms for the first time in 2005, performing Chopin's Piano Concerto No. 2 with Ilan Volkov and the BBC Scottish Symphony Orchestra.[15][13] He returned to the Proms in 2012 with the São Paulo State Symphony Orchestra and Marin Alsop, playing Villa-Lobos's Momoprécoce.[16] In 2013 he joined the same orchestra on a European tour that included 13 cities in six countries and appearances at the Salle Pleyel in Paris, the Royal Festival Hall in London and the Berliner Philharmonie.[17]

In Brazil, Freire took part in public musical commemorations connected with Chopin's bicentenary. On 13 March 2010 he appeared at Sala São Paulo with the Filarmônica Brasileira under Cláudio Cruz in the opening concert of the Ano Chopin no Brasil.[18] That year he also served on the jury of the XVI International Chopin Piano Competition in Warsaw, the edition won by Yulianna Avdeeva.[19]

Freire also held roles in the competition world outside Poland. In 2001 he presided over the jury of the Concours international Marguerite Long-Jacques Thibaud in Paris.[20] He had also been expected to serve on the jury of the XVIII International Chopin Piano Competition in 2021, but withdrew because of illness and was replaced by Arthur Moreira Lima.[21][22]

In 2011 Freire withdrew from a planned appearance with the Brazilian Symphony Orchestra and Roberto Minczuk in support of musicians who had been dismissed by the orchestra.[23] The episode stood out in a career otherwise marked by a guarded public manner and few interviews.[24]

Collaboration with Martha Argerich

Martha Argerich, Freire's longtime friend and piano-duo partner

Freire's closest and best-known chamber partnership was with Martha Argerich. They met in Vienna as young pianists and remained friends and musical collaborators for the rest of his life.[9][13] Their early shared appearances included a London concert in 1968, and their duo partnership later resumed with greater regularity from the 1980s.[13]

In 1982 they appeared together in a programme that included solo works and two-piano music by Ravel and Rachmaninoff.[25] In 2000 Freire joined Argerich at Carnegie Hall, playing Ravel with her in a programme that also included Argerich as soloist and with the Juilliard String Quartet.[26]

They toured Japan in 2003, Brazil and Argentina in 2004, and North America in 2005.[2] Their duo repertory included Rachmaninoff's Suite No. 2, Brahms's Variations on a Theme by Haydn, Ravel's La valse and Lutosławski's Variations on a Theme by Paganini.[13] Their live Salzburg recording, released by Deutsche Grammophon, drew particular attention to the ease and balance of the partnership.[3][10]

Argerich withdrew from the 2021 Chopin Competition jury after Freire also withdrew, and she travelled to Brazil to be with him during his final illness.[21][22]

Later career

The Concertgebouw in Amsterdam, one of the major European halls associated with Freire's later recital career

Freire's late career brought a broader public profile, partly through recordings and partly through honours that recognized his long international career. Decca's releases from the 2000s and 2010s increased his visibility beyond the circle of pianists and concertgoers who had followed him for decades.[10][13] In 2016 the Federal University of Minas Gerais awarded him an honorary doctorate as part of the university's ninetieth-anniversary commemorations.[27] In 2019 he received the Lifetime Achievement Award from the International Classical Music Awards and the Konex Mercosur Prize.[1][6][28]

He remained active in major venues late in life. In 2018 he appeared at Carnegie Hall with the Grand Rapids Symphony under Marcelo Lehninger, playing Villa-Lobos's Momoprécoce and de Falla's Nights in the Gardens of Spain.[29] A fall in Rio de Janeiro in November 2019 fractured his right humerus and interrupted his performing plans. He intended to return to the stage in 2020, but the COVID-19 pandemic delayed those plans.[1][22] His final years were marked more by recordings, tributes and the continued circulation of performances from earlier decades than by farewell concerts.[13]

Recordings

The Gewandhaus in Leipzig. Freire's Brahms concerto recording with the Gewandhaus Orchestra and Riccardo Chailly received Gramophone awards.

Freire recorded selectively for much of his career and often preferred the immediacy of live performance.[1] His commercial recordings nevertheless formed a large discography, with releases on CBS/Columbia, Sony Classical, Teldec, Philips, Decca, Deutsche Grammophon, Berlin Classics, IPAM and London.[2][30] The repertory on disc centered on Chopin, Schumann, Brahms, Beethoven, Debussy, Liszt and Brazilian music, with later releases also giving space to Bach and shorter encore pieces.[7]

Freire's early CBS/Columbia recordings included concerto and solo repertory that later returned in digital and collected editions. Sony Classical gathered much of this material in Nelson Freire: The Complete Columbia Album Collection, released in 2014 as an 81-track anthology. The collection includes concertos by Tchaikovsky, Grieg and Schumann and Liszt's Totentanz, all with the Munich Philharmonic conducted by Rudolf Kempe, as well as solo works by Schumann, Schubert, Brahms, Chopin and Liszt.[31][32] His CBS recording of Chopin's 24 Préludes received the Prix Edison.[2]

His Teldec and Telefunken recordings were centred on Chopin. Warner Classics later gathered these youthful recordings as Nelson Freire Plays Chopin, a digital compilation of nocturnes, scherzos and other works.[33] The earlier Teldec album Chopin: Nocturnes & Fantasie included ten nocturnes and the Fantaisie in F minor, Op. 49.[34] Other Warner and Apex reissues drew on the same Chopin recordings, including the four scherzos, the Heroic Polonaise, the Third Ballade and the Berceuse.[33]

Philips included Freire in its Great Pianists of the 20th Century series, released in 1999.[7][2] The series placed him among a broad historical selection of pianists and helped make earlier performances available to a new CD audience. Concert biographies from the period also listed IPAM and London among the labels on which his recordings circulated, reflecting the mixture of studio, archival and reissued material in his discography.[30]

Freire became an exclusive Decca artist in October 2001.[30] His first Decca releases renewed his recording career after years in which his reputation had rested heavily on live performance. A Chopin programme issued in 2002 paired the Piano Sonata No. 3 with the twelve études of Op. 25 and the Trois nouvelles études.[35] The recording received the Diapason d'Or, the Grand Prix de l'Académie Charles Cros and a Choc from Le Monde de la musique; it was also highly rated by Répertoire and recommended by Classica.[30] A further Decca Chopin album, released in 2005, included the twelve études of Op. 10, the Barcarolle and the Piano Sonata No. 2.[36] That album received a Grammy Award nomination.[4][30]

His 2003 Decca Schumann recital included Carnaval, Papillons, Kinderszenen and Arabeske.[37] He followed with Beethoven sonatas, including the "Moonlight", "Waldstein", "Les Adieux" and Op. 110 sonatas, and with a Debussy programme containing the first book of preludes, Children's Corner, Clair de lune and La plus que lente.[38][39]

Freire's Brahms piano concertos with the Gewandhaus Orchestra and Riccardo Chailly, released by Decca in 2006, became one of his most decorated recordings.[40] It won the 2007 Classic FM Gramophone Record of the Year award and the concerto category, and was nominated for a Grammy Award.[41][4] Freire later returned to Brahms for a 2017 solo album with the Piano Sonata No. 3 and piano pieces from Opp. 39, 76 and 116-119.[42]

Chopin remained central to his Decca catalogue. During Chopin's bicentenary year in 2010, Decca released Freire's recording of the complete nocturnes.[43] Chopin: The Nocturnes received the Diapason d'Or and was nominated for a Grammy Award.[4] His later Chopin concerto album paired the Piano Concerto No. 2 with the Fourth Ballade, Berceuse, Heroic Polonaise and three mazurkas, with the Gürzenich Orchestra Cologne conducted by Lionel Bringuier.[44]

The Liszt bicentenary year of 2011 brought Harmonies du soir, a Decca recital including the second and eighth Hungarian Rhapsodies, the title étude from the Transcendental Études, Waldesrauschen and the six Consolations.[45] Freire also recorded Liszt concertos with the Dresden Philharmonic and Michel Plasson for Berlin Classics. The Berlin Classics release paired Liszt's piano concertos with Totentanz, and later reissues placed Freire alongside Artur Pizarro in Liszt: The Piano Concertos and Hungarian Rhapsodies.[46]

Freire's recorded partnership with Martha Argerich crossed more than one label. A Decca recording paired them in Rachmaninoff's Suite No. 2, Ravel's La valse and Lutosławski's Variations on a Theme by Paganini.[47] Deutsche Grammophon issued their Salzburg Festival recording, with works by Brahms, Rachmaninoff, Ravel and Schubert.[48] Reviewing the Salzburg album in The Observer, Nicholas Kenyon emphasized the close balance and responsiveness of the duo.[3] Freire also appeared with Argerich, Peter Sadlo and Edgar Guggeis in a Deutsche Grammophon recording of Bartók's Sonata for Two Pianos and Percussion and Ravel arrangements.[49]

Freire also recorded Brazilian repertory. Brasileiro: Villa-Lobos and Friends, released by Decca in 2012, placed piano works by Heitor Villa-Lobos alongside music by other Brazilian composers.[50] The album won the 2013 Latin Grammy Award for Best Classical Album.[5] A review in The Guardian noted that the programme included thirty short pieces, among them sixteen by Villa-Lobos, and connected some of the selections with music Freire had known since his student years in Brazil.[51]

His later Decca albums included a 2014 Beethoven release pairing the "Emperor" Concerto with the Piano Sonata No. 32, again with Chailly and the Gewandhaus Orchestra.[52] In 2016 he released his first Bach album, with the Partita No. 4 in D major, BWV 828, the English Suite No. 3 in G minor, BWV 808, the Chromatic Fantasia and Fugue, and transcriptions associated with Bach, Busoni, Siloti and Myra Hess.[53] Encores, released on his seventy-fifth birthday in 2019, gathered shorter pieces by composers including Sgambati, Purcell, Scarlatti, Paderewski, Godowsky, Grieg, Rubinstein, Rachmaninoff, Scriabin, Shostakovich and Granados.[54]

Archival releases filled out parts of Freire's concert history that had not appeared in his main studio catalogue. Radio Days: The Concerto Broadcasts, 1968-1979, released by Decca in 2014, collected broadcast performances of concertos by Tchaikovsky, Rachmaninoff, Prokofiev, Chopin, Liszt and Schumann.[14] Decca released Memories posthumously in 2022, with works by Gluck, Bach, Beethoven, Richard Strauss, Debussy, Villa-Lobos, Bartók and Brahms, and performances with the Frankfurt Radio Symphony and the Radio-Sinfonieorchester Stuttgart under Michael Gielen, Horst Stein and Uri Segal.[55]

Film, interviews and biographies

The documentary film Nelson Freire, directed by João Moreira Salles, was released in 2003. The feature-length film follows Freire in concert, in recital, backstage and in daily life, moving from his first contact with the piano to the reception of admirers after performances. Rather than using a conventional sequence of testimonials, the film lets performances, rehearsals, travel and quiet domestic scenes carry much of the portrait. Martha Argerich, Freire's longtime friend and musical partner, is the main exception.[56]

Salles and his team filmed Freire in Rio de Janeiro, São Paulo, France, Belgium and Russia between May 2000 and August 2001.[56] The film's screenplay was credited to João Moreira Salles, Felipe Lacerda and Flávio Pinheiro, with cinematography by Toca Seabra and editing by Felipe Lacerda and Salles.[57][56] It was shown at the International Documentary Film Festival Amsterdam and at the San Francisco International Film Festival in 2005.[56][57] The film won Best Documentary at the Festival Internacional del Nuevo Cine Latinoamericano in 2003, and Best Documentary and Best Sound at the Grande Prêmio do Cinema Brasileiro in 2004.[56]

Freire also appeared in filmed concert material with Argerich. A 1982 performance preserved by medici.tv presents the two pianists in music by Debussy, Chopin, Ravel and Rachmaninoff, with Freire playing Debussy's Estampes, Chopin's Trois nouvelles études and the Scherzo in B-flat minor before joining Argerich for Ravel's two-piano version of La valse and Rachmaninoff's Suite No. 2.[25] Their public partnership also shaped later interviews. During the 2010 International Chopin Piano Competition, Freire spoke with Culture.pl about their friendship, their first public performance together in London in 1968, and their shared repertory.[58]

Although Freire rarely cultivated publicity, several extended interviews preserved his own account of his life and art. In an interview with Stany Kol, first published in The UNESCO Courier in September 1995, he recalled his childhood in Boa Esperança, the move to Rio de Janeiro, his studies with Nise Obino, the 1957 Rio competition, the Vienna scholarship and the beginnings of his career abroad.[59] In 2019, shortly before receiving the Lifetime Achievement Award from the International Classical Music Awards, he gave a long interview under the title "I have lived seven different lives", reflecting on early training, repertory, recordings, friendship with Argerich and late-career recognition.[6]

A book-length biography appeared after Freire's death. French writer and music journalist Olivier Bellamy published Nelson Freire: le secret du piano in 2022.[60] The book was translated into Portuguese by Julia da Rosa Simões and published in Brazil by DBA as Nelson Freire: O segredo do piano in 2024, the year Freire would have turned eighty.[61][62] Bellamy, who had also written on Martha Argerich, drew on interviews, personal archives and conversations with people close to Freire to portray the pianist's career, friendships, repertory and private reserve.[61][62]

Personal life and death

The Theatro Municipal do Rio de Janeiro, where Freire's body was laid out for public farewell

Freire guarded his private life and gave few interviews.[24][63] He was married to physician Miguel Rosário.[11]

In October 2019 Freire fell while walking on the beachfront pavement in Barra da Tijuca, Rio de Janeiro, and fractured the humerus of his right arm. The injury required surgery and led him to cancel recitals and concerto appearances in Brazil and abroad, including concerts planned for celebrations of his seventy-fifth birthday and sixtieth year as a performer.[64] He planned to return to the stage in 2020, but the COVID-19 pandemic delayed those plans.[1][63]

Freire died at his home in Rio de Janeiro on 1 November 2021, aged 77.[1][11][63] His body was laid out for public farewell at the Theatro Municipal do Rio de Janeiro on 2 November and was buried the following day in the municipal cemetery of Boa Esperança, his birthplace, in the same cemetery where his parents were buried.[65]

Legacy

Freire's death prompted tributes from orchestras, concert halls, musicians and cultural institutions in Brazil and abroad. The Fundação Osesp, the Minas Gerais Philharmonic Orchestra, the Sala Cecília Meireles, the Theatro Municipal do Rio de Janeiro, the Theatro Municipal de São Paulo and the Brazilian Symphony Orchestra were among the Brazilian institutions that marked his death publicly.[66] The tributes often linked his public stature to a reserved manner on and off stage, a contrast also noted in later obituaries.[63][13]

His native Boa Esperança had already made Freire part of its civic memory during his lifetime. A street in the city centre, Rua Nelson Freire, was named in his honour while he was still a child, and a plaque marks the site where the family pharmacy once stood and where he was born.[67] The city also has a lookout point named after him, the Deck Mirante Nelson Freire.final year[68]

Posthumous releases and tributes continued to circulate his playing. In 2022, Decca released Memories, a posthumous album of unreleased recordings and broadcast performances.[55] The same year, the Festival International de Piano de La Roque d'Anthéron presented Amigos de Nelson Freire, with Brazilian pianists Cristian Budu, Eduardo Monteiro, Pablo Rossi, Fabio Martino, Clélia Iruzun and Juliana Steinbach; the festival also held a conference on Freire with Alain Lompech and Olivier Bellamy.[69] In 2024, the year he would have turned eighty, Juliana Steinbach performed a tribute concert to him in Paris.[70]

Freire also became the subject of new biographical work after his death. French music journalist Olivier Bellamy published Nelson Freire: le secret du piano in 2022.[60] A Portuguese translation by Julia da Rosa Simões was published in Brazil by DBA as Nelson Freire: O segredo do piano in 2024.[62][71]

Awards and honours

Competitions, decorations and institutional honours

Recording awards and distinctions

  • Prix Edison for his CBS recording of Chopin's 24 Préludes.[2][73]
  • 2002: Diapason d'Or for his Decca Chopin recording.[73]
  • 2002: Grand Prix de l'Académie Charles Cros for his Decca Chopin recording.[73]
  • 2002: Choc from Le Monde de la musique for his Decca Chopin recording.[73]
  • 2002: Répertoire rating of 10 for his Decca Chopin recording.[73]
  • 2002: recommended by Classica for his Decca Chopin recording.[73]
  • 2007: Classic FM Gramophone Award, Record of the Year, for Brahms's piano concertos with the Gewandhaus Orchestra and Riccardo Chailly.[41]
  • 2007: Classic FM Gramophone Award, Concerto category, for Brahms's piano concertos with the Gewandhaus Orchestra and Chailly.[41]
  • 2010: Diapason d'Or for Chopin: The Nocturnes.[45]
  • 2010: Included in the Quarterly Critics' Choice list of the Preis der deutschen Schallplattenkritik for Martha Argerich and Nelson Freire: Live from Salzburg.[76]
  • 2011: Quarterly Critics' Choice of the Preis der deutschen Schallplattenkritik for Liszt: Harmonies du soir.[77]
  • 2013: Latin Grammy Award for Best Classical Album for Brasileiro: Villa-Lobos and Friends.[78]
  • 2016: ECHO Klassik award, Solo Recording, music up to and including the 17th/18th century, for Bach.[79]

Grammy Award nominations

  • 2006: Grammy Award nomination, Best Instrumental Soloist Performance without Orchestra, for Chopin's études, Barcarolle and Piano Sonata No. 2.[80][2]
  • 2007: Grammy Award nomination, Best Instrumental Soloist Performance with Orchestra, for Brahms's piano concertos with the Gewandhaus Orchestra and Chailly.[80][2]
  • 2010: Grammy Award nomination, Best Instrumental Soloist Performance without Orchestra, for Chopin: The Nocturnes.[80]

See also

References

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Further reading

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