Leonie Rettig - Klavier/Piano

 

Press

Interview IDAGIO 02.03.16

Throw-away chords or carelessly assembled octaves are not her style. She plays in an unforced and natural manner, with a warm rounded tone which is sometimes veiled, though never unclear; the contours remain sharply defined when required. Right from the first work on the programme this unusual way of playing showed its merits, with a performance ranging from inward contemplation to transfiguration, beginning and ending with an imposing song line in the tenor register, accompanied by harmonically brilliant figurations in the right hand.” (Schwarzwälder Bote, 12.12.2016)

The four expansive movements of the work with their themes, now profound, now light-hearted; with their lyrical-like melodies and heavy chords, with dark and light passages and many still, pensive moments, were, in the hands of this musician, an experience […] in the vein of Robert Musilʼs definition of art: ‘What is left of art? We are. As changed beings.’” (Nürtinger Zeitung, 29.11.2016)

Romantic balm for the soul. “Leonie Rettig played, no she celebrated, Schubert’s Piano Sonata in B flat major and Brahms’s Piano Sonata in F minor with contemplative intensity and highly concentrated commitment. With her lucid touch she created a mood that seemed to suspend all material and temporal barriers and to give the performance a transcendental air.” (Südwestpresse, 16.2.2016)

Pianistically top class. “We experienced a creative miracle […]. Right from the first notes of Liszt’s B minor Sonata the audience was on the edge of their seats. It was as if Leonie Rettig began to read a long pianistic novel […]. Following on from last year’s Liszt bicentenary, Leonie Rettig had delivered such an overwhelming masterpiece that it was some moments before the applause began.” (Hannoversche Allgemeine Zeitung)

Three major tales. “… every piano passage has left the audience in veneration for her fine tuned touch and her heart-stoppingly moulded segues. … This monumental piece written in only one movement was turning into an extraordinary experience for the listener. …the lyrically rounded ending lead to great peace.” (Südwestpresse online)

Concentrated and alive… “As if it was the most natural thing to do the pianist had the cascades sough with technical flawlessness. Tiniest delays … were commanding attention, catering for breathless suspense and brought the things heard to life.” (Südwestpresse online)

The power of love at the abyss of horror. “… Liszt would have taken delight in listening to her recital dedicated to him. Every piece she played made itself felt for a long time. … with merciless interpretations … and tremendous power she unloaded musical eruptions … but her compelling and gripping narrative flow however left room for isles of recreation and lyrical beauty. … enthusiastic plaudit for a promising young artist.” (Allgäuer Anzeigenblatt)

A musical marathon… “It bears mentioning that not even the virtuosic passages would bring the musician to her knees while interpreting the pieces with an enormous amount of tranquility and accuracy.” (HNA)

Chameleon-like tonal variety. “… Not often does the audience run a chance to listen to all four Ballads by Chopin live. The pianist delighted her public with musical maturity and ardour. … Especially her multifaceted touch was most convincing Once tripping or playing in a most gentle pianissimo she would also educe a hammering strong fortissimo from the Steinway grand. … Deserved bravos!” (HNA)

Organ sounds and delicate filigree. “…Astonishing how the young artist would place herself in the demonic undertow of this music without ever losing control or the clear rhythmical disposition. … You might want to call it a freeing superiority documented in contour sharpness and clever musical synopsis- even the one bar pauses felt like painful stabs with a knife. … The technical demanding Scherzo with its surprising leaps and vertiginous final rondo succeeded homogenously. The wonderful parenthesis amongst the scherzo turbulences bestowed a very special moment of happiness, like a cradle song conducting us into a better world.” (Der Teckbote)

Leonie Rettig played terrifically from the very first note on. She unites emotions, empathy and her outstanding sense of tact and time in one point. Her fine, well-planned and illuminating playing … is one of the best we heard in a long time…” (Gemeinde-Nachrichten Niefern-Öschelbronn)

She is only 16 years young and is already radiating strength and personality. Leonie Rettig is one of the few talents that you can hardly find. She can always find the right tonal colour … She describes the different pictures with great tonal variety – as if you were attending the exhibition yourself – and … presented her impressions perfectly judged – that is not only mere technique. …” (Schwarzwälder Bote)

Access to the golden sound. … “You would not forget Mussorgskys famous Pictures at an exhibition in a hurry if you had listened to Leonie Rettig’s performance in the Kirchheim Castle. The pianist Leonie Rettig left everyone filled with wonder with her technical sovereignty, imaginative shaping, attention to detail and her profound understanding of performing tradition. The technical aplomb, imaginative shaping, attention to detail and profound understanding of the performing tradition confluencing in her interpretation, left us in sheer astonishment. How can such a young artist unfold a sound of such perfection? When did the massive concert grand ever get a chance to work itself into the ground as sonorous and unforced as under her guidance? The giant did her bidding at every turn and endowed her Mussorgsky vision with an overwhelming sonic aura … It is surely her suppleness and the secrets of her touch that give her access to that golden sound …“ (Der Teckbote)

07. 06. 2017

 

 

 

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