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« ...As was true in the preliminaries, Pierdomenico was impressive [...] He is a very musical pianist. »
Fort Worth Star Telegram

Winner of the “Raymond E. Buck” Jury Discretionary Award at the 2017 “Van Cliburn” International Competition, 24-year-old Italian pianist Leonardo Pierdomenico is also a first prize winner at the 2011 “Premio Venezia” Piano Competition held in “La Fenice” Opera House and a semifinalist at the 2016 “Queen Elisabeth” International Piano Competition. His semifinal performance of Chopin’s Ballade in g minor was included in the CD box with the best of 2016 “Queen Elisabeth” competition.

He has performed with many prominent orchestras, including the Fort Worth Symphony Orchestra, the Orchestre Royal De Chambre de Wallonie, La Fenice Symphony Orchestra, among the others, collaborating with such esteemed conductors as Nicholas McGegan, Paul Meyer and Diego Matheuz.

In 2015 Leonardo was one of the six pianists selected to compete for the “Arturo Benedetti Michelangeli” Prize and to participate to the exclusive masterclass held by M° Daejin Kim at the prestigious Eppan Piano Academy. He was also named Fellow of the prestigious 2016 Music Academy Of The West Festival in Santa Barbara, California, having the opportunity to perform, work, and collaborate with Guest Artists like Jeremy Denk, Jerome Lowenthal, Jean-Yves Thibaudet, Julian Martin and Leon Fleisher.

Solo recitals have brought him to major venues worldwide, including the Bass Hall in Fort Worth (TX), Auditorium Parco della Musica (Petrassi Concert Hall) in Rome, La Fenice Opera House, Mario dal Monaco Theatre, Studio 4 Flagey in Brussels, Konzerthaus Berlin (Werner Otto Saal), Lanserhaus Eppan, Kreuzherrnsaal Memmingen, Hahn Hall in Santa Barbara (CA).

Mr. Pierdomenico has been featured in both live and recorded performances on (more than 3 hours of performances), RTBF (Belgium), KUSC California (USA), RAI3 e RAI Radio3 (Italy), Euroclassical (Eurovision).

Born in Pescara, Italy, Mr. Pierdomenico graduated Magna cum Laude and Honors from the “Luisa D’Annunzio” conservatory of Pescara at 17, then studied with M° Pietro De Maria at the School of music of Fiesole: the advices from the legendary Maria Tipo were also really important for his musical training.

In 2017 he earned a Master’s degree cum Laude at the “Accademia Nazionale di Santa Cecilia” of Rome, under the guidance of M° Benedetto Lupo. Moreover, in 2011 he was awarded a Medal by Italian Republic President Giorgio Napolitano because of his artistic achievments.

In October 2020, Leonardo is admitted to the prestigious International Piano Academy of Lake Como.

His new CD REFLECTION released in 2020 for Piano Classics.

During the season 21-22, Leonardo will perform in Italy, France, Belgium, Portugal, Germany and Czechia.




Piano Classics 2021
Piano Classics 2018



(...)His interesting programme spans Liszt’s career, with the early La romanesca composed in Paris, the Scherzo and March and two Ballades from the Weimar years, the St Francis Legends from 1860s Rome and the late Csárdás macabre from Budapest. Would that half the seasoned Lisztians I know had Pierdomenico’s keen ear for stylistic differentiation within this half-century of repertory. His highly developed technique and cultivated sound, both adaptable to a variety of affects, are wedded to those twin essentials for artistic Liszt-playing: imagination combined with thoroughgoing, scrupulous musicality.

His prodigious prestissimo leggiero, the ability to play extremely fast yet lightly, lends his Scherzo and March and Csárdás macabre quicksilver speed and tremendous power that never devolves into banging. His fioritura, that delicate filigree enhancement of melody used by Liszt and Chopin, envelops the D flat Ballade (No 1) with sensual charm and imbues ‘St Francis’s Sermon to the Birds’ with shimmering colours. La romanesca speaks with the chasteness of a Bartók folk-song transcription, maintaining its rustic simplicity through successive elaborations and embellishment. The exalted sound-painting of ‘St Francis Walking on the Waves’ is realised by Pierdomenico’s mastery of the ‘crescendo within crescendo’ effect, the scarcely perceptible pulling back at critical moments in an ostensibly seamless sound trajectory, unleashing huge volumes of sound that never exceed the resources of the piano. The B minor Ballade (No 2) occupies a vast canvas, though Pierdomenico avoids the overstated or melodramatic, opting instead for a heartfelt earnestness that creates a perfect symbiosis of the heroic and lyrical.

On the basis of his Liszt alone – and one may hear him in other repertoire on YouTube – I don’t hesitate to suggest that Pierdomenico is a musician of rare sensitivity and vision, and that following his further development will be a pleasure.
Patrick Rucker ( Gramophone)




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