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Die Nordwestdeutsche Philharmonie und der italienische Pianist Leonardo Pierdomenico bringen das Publikum mit Mozart zum Schwärmen.
..."Kein Zweifel : Leonardo Pierdomenico am Flügel ist das absolute Herzstück in der Gunst des Publikums. Überhaupt nicht aufdringlich und auf Effekte heischend spielt der junge Pianist das Klavierkonzert zum Dahinschmelzen. So mancher Gast genießt das emotionale Erlebnis mit geschlossenen Augen.

"Welchem Schwierigkeitsgrad er gewachsen ist, beweist Pierdomenico, als er den jubelnden Applaus mit einer Zugabe quittiert und dafür Frederic Chopins Etüde in C-Dur op. 10, Nr. 1 auswählt : Ein absolut schwindelerregender Wasserfall, mit dem er den Konzertgästen einen weiteren Höhepunkt serviert." Elke Niedringhaus-Haasper, Neue Westfälische 2019.

(...)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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