“As the poised and remarkably dexterous pianist William Fried showed in his surprisingly lyrical performance — created
not only with fingers but fingertips and knuckles and fists — the result is a ghostly mingling of past and present sounds in a
hypnotic landscape of memory. A rich, densely impressionistic sonic canvas emerges, recalling Debussy, and Monet’s
paintings of cathedrals bathed in multicolored fog and mist.”
— Harlow Robinson, "Pure sound brightens a soggy evening at SICPP,"
T H E B O S T O N G L O B E
"Stand-out performances included pianist William Fried’s presentation of Tristian Murail’s Territoires de l’oubli. In possession
of an incredible technique, Fried seemed to effortlessly transport the listener into the receptive, meditative state that
spectral music demands."
— Kate Mackin, "Innovation and engagement at the Vancouver New Music's Sonic Topographies Festival,"
V A N C O U V E R C L A S S I C A L M U S I C
"John Luther Adams’ Four Thousand Holes (2010) followed after a brief intermission. The piece, performed by pianist
William Fried and percussionist Scott Deal on bells and vibraphone, was underscored by an electronic soundtrack
whose source sounds were derived from the featured instruments themselves. In this way, the two textures of performance
– electroacoustic and live – folded into each other beautifully, melding in the same musical space despite the soundtrack
being fuller and seemingly more present in the acoustic environment. From the performers’ perspective, Adams’
complex rhythms had to hold its own ground and thus required intense concentration, a challenge which Fried and Deal
met with soul and utmost care. Four Thousand Holes somehow managed to sound delicate but not fragile, determined but
not forceful, and bright but not blinding; the performance was a truly engrossing one."
— Joanne Lam, "Sonic Topographies/Vancouver New Music Festival 2014,"
I C A R E I F Y O U L I S T E N
"William Fried - his performance of Tristan Murail's Territories de l'oubli at Vancouver New Music's Sonic Topographies Festival
was awe inspiring. I don't give standing ovations unless I have to."
— "2014 Favorites,"
B E A C O N S O U N D
“El segon libre dels Préludes, de Debussy, és una obra estrania i futurista, plena d’humor i d’extravagància, que Fried
va interpretar amb una tècnica molt depedura i una barreja de sons fantasmals…”
— P O R T A V E U D E L S E G R E M I T J À
“... notable was William Fried’s subtly shaded and delicately phrased piano part.”
— "French modernists shine at UC San Diego,"
S A N D I E G O . C O M
“...particularly forceful… parts a test of both stamina and musicianship.”
— Valerie Scher, "A Muscial accolate by UCSD ensemble connects,"
T H E S A N D I E G O U N I O N T R I B U N E