Nelson Freire

Nelson Freire (piano)




Bartok, Bela - Concerto for Two Pianos, Percussion and Orchestra BB121
Beethoven, Ludwig van - Concerto for piano and orchestra No. 4 G-dur (1805-06) op. 58
Beethoven, Ludwig van - Concerto for piano and orchestra No.5 Es-dur (1809) op. 73
Beethoven, Ludwig van - Piano Sonata 14 cis-moll `Moonlight` op. 27 2
Beethoven, Ludwig van - Piano Sonata 21 `Waldstein-Sonate` C-dur op. 53
Beethoven, Ludwig van - Piano Sonata 26 Es-dur `Lebewohl-Sonate` op. 81a
Beethoven, Ludwig van - Piano Sonata 31 As-dur op.110
Beethoven, Ludwig van - Piano Sonata 32 c-moll op.111
Brahms, Johannes - Concerto for piano and orchestra No. 1 in d-moll (1856-57) Op. 15
Brahms, Johannes - Variations on a theme by Haydn for 2 Pianos (1873) Op. 56b
Chopin, Frederic - 12 Etudes Op. 25
Chopin, Frederic - 12 Etudes Op. 10
Chopin, Frederic - 2 Nocturnes Op. 27
Chopin, Frederic - 3 Ecossaises Op. 72-3
Chopin, Frederic - 3 Mazurkas Op. 50
Chopin, Frederic - 3 Nocturnes Op. 15
Chopin, Frederic - Ballade No.3 in As-dur (1840-41) Op. 47
Chopin, Frederic - Ballade No.4 f-moll (1842) Op. 52
Chopin, Frederic - Barcarolle in Fis-dur (1845-46) Op. 60
Chopin, Frederic - Berceuse in D-flat major Op. 57
Chopin, Frederic - Concerto for piano and orchestra No.1 in e-moll (1830) Op. 11
Chopin, Frederic - Concerto for piano and orchestra No.2 in f-moll (1829) Op. 21
Chopin, Frederic - Fantaisie in f-moll (1841) Op. 49
Chopin, Frederic - Fantasie-Impromptu cis-moll Op. 66
Chopin, Frederic - Impromptu 3 Op. 51
Chopin, Frederic - Impromptu 2 Op. 36
Chopin, Frederic - Nocturne 20 in sharp minor Op. posth
Chopin, Frederic - Piano Sonata 2 in B-flat minor Op. 35
Chopin, Frederic - Piano Sonata 3 in B minor Op. 58
Chopin, Frederic - Polonaise No.6 in As-dur `Heroic` Op. 53
Chopin, Frederic - Prelude in C sharp minor Op. 45
Chopin, Frederic - Scherzo 1 in B minor Op. 20
Chopin, Frederic - Scherzo 2 in B flat minor Op. 31
Chopin, Frederic - Scherzo 4 in E major Op. 54
Chopin, Frederic - Scherzo 3 in C sharp minor Op. 39
Chopin, Frederic - Waltz No.14 in E minor Op. posth
Chopin, Frederic - Waltz No.6 in D-flat major Op. 64-1
Concerts, - Concerts of Nelson Freire (piano)
Debussy, Claude - D`un cahier d`esquisses for piano L 99
Debussy, Claude - Fantasy for Piano and Orchestra (1889-91) L 73
Debussy, Claude - Parts of compositions
Debussy, Claude - `Children`s Corner`, suite for piano (1906-08) L 113
Debussy, Claude - 12 Preludes (1910) (Book I) L 117
Liszt, Franz - 2 Concert Studies S.145
Liszt, Franz - 4 valses oubliée for piano S.215
Liszt, Franz - Ballade 2 h-moll S.171
Liszt, Franz - Concerto for piano and orchestra 1 in E-flat Major S.124
Liszt, Franz - Concerto for piano and orchestra 2 in A major S.125
Liszt, Franz - Concerto pathetique for 2 pianos S.258
Liszt, Franz - Hungarian Rhapsody 10 E major S.244 10
Liszt, Franz - Piano Sonata h-moll S.178
Liszt, Franz - `Totentanz`. Paraphrase on the `Dies Irae` for piano and orchestra S.126
Prokofiev, Sergey - Concerto for Piano and Orchestra No.1 D flat major (1911-12) op. 10
Rachmaninov, Sergei - Concerto for piano and orchestra No. 2 (1900-01) Op.18
Rachmaninov, Sergei - Concerto for piano and orchestra No. 3 in D minor (1909) Op.30
Rachmaninov, Sergei - Concerto for piano and orchestra No. 4 (1926, 1928, 1941) Op.40
Rachmaninov, Sergei - Second Suite for Two Pianos 4 Hands. Op.17
Rachmaninov, Sergei - `Symphonic Dances` for orchestra. Dedicated to E. Ormandy. 1940. Op.45
Schubert, Franz - Rondo A-dur, Op.107 D 951
Schumann, Robert - Concert allegro with introduction for piyno and orchestra D-dur Op.134
Schumann, Robert - Concerto for Piano and Orchestra a-moll (1841-45) Op. 54
Schumann, Robert - Kinderszenen (Easy Pieces for Piano) Op. 15
Schumann, Robert - Piano Fantasia in -dur Op. 17
Schumann, Robert - Piano piece `Carnaval` in As-Dur Op. 9
Schumann, Robert - Piano piece `Papillons` Op. 2
Tchaikovsky, Pyotr - Concerto for piano and orchestra No. 1 b-moll Op. 23
Villa-Lobos, Heitor - A lenda do caboclo for piano W166
Villa-Lobos, Heitor - Rudepoema (for piano) W184


Last comments

amatar
  What interesting music! Remarkable record!
Aelina
  The first part - very much reminds shiffsky treatment, almost like two drops of water...
And here the second... Something unimaginable, new, for me - great. I listen with delight
tears in the eyes.

Anything is more ingenious than Beethoven`s sonatas * * I do not understand at present.
I admire the score of the 31st!

Thanks for the calculation.
Aelina
  My God, what final!
Ulet!!!!!!
musikus
  wrote of Aelina: Anything more ingeniously than Beethoven`s sonatas I do not understand
at present. Both at present, and forever.
Mikhail_Kollontay
  wrote of musikus: I at present, and forever. In view of my regular job continuously I
communicate with all sonatas and I confirm. Moreover, same students, absolutely green and
uncivilized think and express. My one first-year student of 15 years struck a joy here,
having told that all other, except Beethoven`s sonatas, it to play somehow is
uninteresting.
sir Grey
  To me as the person from fresh craze, of course, most of all likes slow part. And me it
was always somehow unclear for what Beethoven published it? If I wrote such music, I would
hide it and showed nobody. After all not to tell about everything to people?

And suddenly Beethoven has 33 more, 34th sonatas with which he and arrived? Composed, and
hid.
Mikhail_Kollontay
  wrote of sir Grey: slow Such sonata, is not present neither slow, nor fast parts. Slow
pieces are in final part unless. So and not to understand, about what you speak.
Leb1
  wrote of sir Grey: If I wrote to such music, I would hide it and showed nobody. After
all not to tell about everything to people? Likely, Beethoven was more modest: `If God
allowed me to write down this music how it is possible to conceal it from people?`, - he
thought and went to the publisher.
Mikhail_Kollontay
  wrote of Leb1: as can conceal it from people For me here a riddle that the B thought
of the colleagues when wrote late compositions. That is, maybe, also did not think, and -
as estimated them. Because same absolutely other kind of activity, in my opinion.
Leb1
  wrote of Mikhail_Kollontay: For me here a riddle that the B thought of the colleagues
when wrote late compositions. Or perhaps in general did not think of them when wrote late
compositions?
It is represented to me somehow so.
Mikhail_Kollontay
  wrote of Leb1: Or perhaps in general did not think of them when wrote late
compositions? it was Not absolutely mentally sick as it is possible not to notice people
around, on the same circle of contacts of the being.
Leb1
  wrote of Mikhail_Kollontay: it was Not absolutely mentally sick with as it is possible
not to notice people around, on the same circle of contacts of the being. should Hurry,
to manage to write down. Not to people.
And here still the nephew, it is necessary somehow on feet him to put...
Mikhail_Kollontay
  wrote of Leb1: Not to people According to letters judging strong, apparently,
Beethoven was very located to people moreover and is absolutely lonely. And other signed
letters to Diabelli with Fa`s note of a counteroctave with words, approximately,
absolutely there without me were dismissed, here I will come also to all backs to pepper,
the signature - the Generalissimo. And meetings, clearly, where - in a tavern.
Leb1
  wrote of Mikhail_Kollontay: judging According to letters, apparently, Beethoven was
very located to people moreover and is absolutely lonely. And other signed letters to
Diabelli with Fa`s note of a counteroctave with words, approximately, absolutely there
without me were dismissed, here I will come also to all backs to pepper, the signature -
the Generalissimo. And meetings, clearly, where - in a tavern. Not to people - in sense
of their estimates.

To be interested in estimates of colleagues, to estimate colleagues and to estimate
itself against colleagues are inseparably linked things.

During some period of life, especially after really big affairs, people can cease to be
interested in these questions.
sir Grey
  wrote of Mikhail_Kollontay: judging According to letters, apparently, Beethoven was
very located to people moreover and is absolutely lonely. And other signed letters to
Diabelli with Fa`s note kontroktavy/... / It healthy was reflected in the movie with
Banionis which I asked to help me to find, but it was only succeeded to receive the
version in German. For what thanks, but is not suitable for me, because in the movie of
words as much how many music.
In the movie each part has the name, and one part is called `Always one` (so was in
Russian). When the name leaves from the screen, we see a big table, many people, and
Beethoven treats them.

Eh, what to read about it such that it is easy to download in a network. I forgot to
reach Leninka.

Fa`s note is abruptly. These are Germans.

Re-read now. What surname at the actor. Directly decline - and write the ballad.
Banionis, Banionis.
musikus
  wrote of sir Grey: to me it was always somehow unclear I for what Beethoven published
it? It is a pearl besides at the level of the sonata of SI a minor. And Schubert why left
us ZP? And why in general Mahler was published? And symphonies of PICh (especially three
last?) And late Scriabin? And Shostakovich (especially quartets, skr. and alt sonatas).
And you, the sir, why at a forum are published? Can conceal better everything, what you
write us here?
Mikhail_Kollontay
  wrote of sir Grey: Fa`s Note I did not explain that Fa - a standard lower note of the
keyboard of a grand piano of those times. Therefore sometimes music in fa a minor has such
infernality as the final or.142 Schubert, we will tell. Fa is a bottom of a hell. But also
symbol of fundamental force.
Mikhail_Kollontay
  wrote of Leb1: During some period of life, especially after really big affairs, people
can cease to be interested in these questions. I do not think. In any case, from personal
experience so: than the personality is larger, or even the more responsible position of
people holds, the he watches a situation more attentively. Ekaterina the 2nd wrote: `I
will be ruined by complaisance`, it something in that sort. And I would tell
responsibility instead of complaisance, it so a little bit yornichesk, probably. You get
on reception to the archbishop Arseny, or to other bishop, and you feel in the center of
attention, time which seems to you extraordinary and uneconomical even is found for you.
Among musicians I can tell it about Weinberg, say, about Dorliak, about Nesterenko. Evgeny
Evgenyevich, say, provoked to write me a vocal cycle, and long enough spoke on this
subject (it is not necessary to think. that we were in `in parallel` friendly relations,
the rupture of positions was huge), and I long wrote - did not learn, but it I saw notes:
all of them were raschyorkana and are used IT thoroughly. And we had even no rehearsal.
Weinberg himself called, asked, as well as that, went to concerts even pianistic mine,
forced to dig in his score, asked councils for an orchestra (!) etc. here the difference
of both positions, both authority, and age absolutely huge, but for such people of any
value has no it. I do not know, maybe, I was so simply lucky, but here such experience.
Nevertheless I think that indeed, and to Beethoven there was a business to everything.
About a meeting with Rossini there was a conversation, it as an example here. As Roman
pottered with the son of the friend boy Stravinsky, I have no doubts what exactly thanks
to this fuss only we also have such composer. And ON it was not so young, and, of course,
it is very occupied, including family affairs. - Well, probably, there are opposite
examples. It, probably, would be desirable for me. that was so? I do not know.
Leb1
  wrote of Mikhail_Kollontay: of subjects it watches a situation more attentively.
Likely, differently happens.

The image of the person which leaves from vanity better to hear and to be in time more,
to me is clear, possibly, is close.
Aelina
  The soloist at height! What grown wise (both professional and life experience), trembling
execution! I admire!
sir Grey
  wrote of Aelina: the Soloist at height! What grown wise (both professional and life
experience), trembling execution! I admire! And here it seems to me, fussy somehow...
 
     
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