Royal
Philharmonic/Hilary Davan Wetton at the Barbican Leon
McCawley was
the exemplary piano soloist here [Beethoven's Choral Fantasia], as he was in
the Emperor Concerto, which he played with commanding technical authority and a
shining, enriched tone.- Guardian March 3rd 2010
Hong Kong Arts Festival Solo Recital at City Hall Mr.
McCawley opened the recital by Chopin’s...Mazurkas Op. 6...The melodies were so
elegantly polished...hardly a colorful harmonic demeanor went by without Mr.
McCawley bestowing sensitive touch to it. What followed was Barber’s Nocturne
Op. 33. Mr. McCawley’s reading showed more emphasis on the music’s exuberance
and ebullience, with a fluent tempo... This was also the case in his account of
the following Chopin’s Second Sonata, to which he went on without pause. Again,
the Sonata was rendered with whirlwind ebb and flow that reminded us of
Argerich-like impetuousness. The scurrying runs in the second movement
sometimes even sounded Lisztian. The benign middle section of the Funeral
March...came across as a Nocturne with warmth and pliancy.
The second half consisted of two rarely performed piano pieces by Barber,
interpolated by a Nocturne of Chopin. The lightheartedness and directness Mr.
McCawley possessed seemed more trenchant in Barber’s music. The technical
hurdles in the [Barber] Sonata, a showpiece of Horowitz, were also overcome
with aplomb. Mr McCawley delivered two classic encore pieces – Schumann’s
Dedication (arranged by Liszt) and Chopin’s Minute Waltz, both with a
compelling sense of ebullience and vehemence.- ConcertoNet.com March
2nd 2010
BBC
Proms/BBC Philharmonic 23rd July 2009 Leon McCawley
a brilliant soloist...- Times Online August 2nd
2009
Piano
2009 Manchester/ BBC Radio 3 Discovering Music Series Leon McCawley
gave a tremendous performance of Bach's Partita No. 4 and Busoni's
transcription of the Bach Chaconne. In the Partita he took care to enunciate
the character of each movement, from the Allemande to the natural lightness of
the Gigue. The Chaconne bristled with different textures, and was so full of
life and drama that pianist and audience were left breathless.- International Piano
May/June 2009
Mostly
Mozart Festival at the Barbican August 1st 2008 Academy of St Martin in the Fields/Carlo Rizzi Mozart K.482
Leon McCawleywas
the soloist for one of Mozart's grandest piano concertos. Eschewing
sensationalism, this was everything one could wish for in a performance on
modern instruments. Proving himself a natural Mozartean, McCawley didn't try to
do too much with the music, letting it...speak for itself. Demonstrating
artless fluidity, McCawley's uncomplicated approach produced joyous results in
the ebullient first movement.
The soulful lament of the central Andante was intense but not
over-romanticised; the playful finale radiated an infectious sense of fun. As
in the opening movement, McCawley concluded with a deliciously mischievous –
but stylish – cadenza by Nina Milkina. If only there were more performances of
Mozart’s piano concertos as consistent and compelling as this one was. - Classical Source August 2008 (www.classicalsource.com)
Philadelphia Orchestra, 2 July 2008 Inspiration in Mozart's Piano
Concerto No. 22 in E Flat Major, K. 482, came in the form of the soloist, Leon
McCawley. You could hear the orchestra in places meeting his musicality,
finding a shared philosophy rooted in a concept of refined sound.
The London-based pianist, who
studied at the Curtis Institute of Music with Eleanor Sokoloff, is a master of
tone and articulation. He is able to connect a string of notes so that one
seems to begin before the last one stops - yet each is distinct. He is
unfailingly expressive, forming phrases that ask questions and making
strikingly original statements. - Philadelphia
Inquirer,5 July 2008
Edinburgh International Festival with David Pyatt, SEPTEMBER 2007
Playing with total integration as a duo, it was equally remarkable that McCawley switched unblinkingly to soloist in exhilarating Chopin and Schumann, giving Pyatt a couple of well-earned breaks.-The Scotsman, 3 September 2007
Kilkenny Arts Festival, 17 August 2007
On Friday night, pianist Leon McCawley explored the Classical and Romantic concepts of fantasia...The precision at which he excels was not at all at odds with the improvisational freedom essential to pieces such as Beethoven's Sonata in E flat Op 27 No 1 Quasi una fantasia and Chopin's F minor Fantasie. McCawley's deep understanding of the relationship between detail and large-scale design helped make his account of Schumann's Op 17 Fantasie in C especially powerful, full of insight into the inner aspects of a composer..-The Irish Times, 21 August 2007
The Philadelphia Orchestra/ Rossen Milanov at Kimmel Center, June 2007
The orchestra imported superb London pianist Leon McCawley for Mozart's uncharacteristically anxious D minor (K. 466) piano concerto. -Philadelphia Inquirer, 25 June 2007
BRIGHTON FESTIVAL, 21ST MAY 2007
Leon McCawley gave an absorbing piano recital focusing on fantasies..With his characteristic poise and concentration, McCawley's playing reflected and enhanced the spontaneous invention of these pieces, one idea leading naturally to another, but with a shapeliness of structure and a dynamism of interpretation that gave the discourse both coherence and eloquence of expression.-Daily Telegraph, 25 May 2007
Cincinnati Symphony/ Gianandrea Noseda, novemBer 2006
...Mozart's Concerto in D Minor, K. 466 was the picture of refinement. British pianist Leon McCawley, making his debut, is a virtuoso whose playing was all about clarity, grace and beauty of tone. This Mozart, with such lightness of touch and shorter bows in the orchestra, was a rarity.
That's not to say McCawley couldn't conjure drama when needed; his cadenzas, by Beethoven, were ablaze with color. McCawley let the beauty of the music shine with no trace of ego.-Cincinnati Enquirer, November 17th 2006
CD: MOZART THE PIANO SONATAS, avie recORDS
Album of the week:This boxed set of these perfect gems is special. The playing of Leon McCawley, one of Britain's brightest young pianists, is not just technically flawless, it also has a freshness. Mozart's sonatas don't have many notes, but that's their challenge-to which he rises superbly, delivering sweet intimacy or orchestral richness as the occasion demands. A riveting box.-The Independent, 2 December 2006
McCawley shows both virtuoso muscularity and tender insights in a uniformly accomplished reading, which here surprises and there dazzles, without ever descending to vulgarity or exhibitionism. This superb set should propel McCawley towards the greater prominence he deserves.- The Observer, 5 November 2006
This is a magnificent achievement and illustrates firstly how much there is in Mozart’s piano sonatas and secondly what a very fine pianist is Leon McCawley...Listening to this collection has been an immense privilege and I strongly recommend the set to all lovers of great music. It has been one of the most enjoyable experiences listening to McCawley and this box is bound to end up in my "Records of the Year".- Music Web International, November 2006
Here is playing of the highest calibre that is both insightful and unshowy, and which combines muscularity and delicacy – all-important ingredients for a successful Mozart performance.- The Metro, 9 October 2006
beethoven piano concerto no. 1, cbso/andrew LITTON
Earlier came Beethoven's first piano concerto...Soloist Leon McCawley played with a fluidity, passion and virtuosity that understandably won enthusiastic applause from the audience. -Birmingham Mail, 10 March 2006
[Beethoven's] First Piano Concerto launched the evening in a warm-hearted collaboration with the popular and much-admired Leon McCawley...Infusing every note and phrase with thoughtful colour, subtly hinting at underlying drama, McCawley's reading was matched by sympathetic, appreciative orchestral responses under the musicianly Litton - no mean pianist himself. -Birmingham Post
cd: hans gÁL complete works for solo piano, avie records
Producer Simon Fox-Gál couldn't havefound a more eloquent spokesperson for his grandfather's music than Leon McCawley... (Einen eloquenteren Anwalt für die Musikseines Großvaters hätte Produzent SimonFox-Gál nicht finden können als LeonMcCawley)- Fono Forum, 5 June 2006
Leon McCawley's performances achieve two seemingly contradictory ends: though he flies at the music with lusty enthusiasm, he sacrifices not an ounce of the clarity and nimble wit it demands. -Pianist, February/March 2006
Leon McCawley’s playing is top-drawer stuff. He’s a model of textural clarity – just what this music requires – but there’s plenty of sap in his veins, too, as he finds that elusive middle way between cautioius respect and evangelizing over-insistence…A wonderful set – go for it! -Fanfare, March/April 2006
Pianist McCawley truly understands this music and delivers it with the elegance, grace and the sensitivity towards touch and dynamics it needs.-www.allarts.com, April2006
It's always welcome to have the opportunity to discover something new, especially when the rewards are as great as they are here. At a stroke we have the complete solo piano music of Hans Gál, including premiere recordings...An important and intriguing release..that brings together Hans Gál's fastidious craft and Leon mcCawley's discerning and faithful interpretations, beautifully recorded. This is top-drawer music fully worthy of investigation, study and enjoyment. -International Piano, November/December 2005
The first thing to say about this set is that Leon McCawley's playing could hardly be bettered: virtually every bar betrays a level of perception that would surely have warmed thecomposer's heart. -Gramophone, November 2005 - EDITOR'S CHOICE
Here, Leon McCawley, whose playing is beautifully clean-toned, makes a powerful case for [the] solo piano music.- Sunday Times, 30 October 2005
This fascinating set gathers all of his piano music, wonderfully played by Leon McCawley, in which Gál comes over as a highly refined composer with a sprightly imagination.- The Independent, 29 October 2005
MIAMI INTERNATIONAL PIANO FESTIVAL, MAY 14 2005
McCawley's rare artistry lifts Miami Piano Festival:McCawley's appearance as part of the Discovery Series conjured up memories of the late pianist Clifford Curzon...McCawley -- like Curzon -- concentrated on the musical values of his program and accomplished what many pianists strive for but few have the musicianship to achieve. -South Florida Sun-Sentinel
England’s Leon McCawley took center stage on May 14 and offered an evening of sensitive, deeply felt music making. McCawley’s patrician musicianship and elegant pianism were indeed special. The strong profile and florid musical line that he brought to Mozart’sFantasy in C Minorwas mesmerizing. In Schumann’s lovelyKinderszenen, McCawley displayed supple lyricism and delicately sculpted phrasing. McCawley played Mozart’sSonata in C Minorwith brisk, classical precision. The Adagio sang from his keyboard like a finely spun operatic aria.
McCawley’s traversal of four sonatas by Domenico Scarlatti pulsated with rhythmic life. His lithe phrasing, idiomatic fluency and pianistic brilliance made this thrice familiar music sound new and vibrant. In Rachmaninoff’s awesomeVariations on a Theme of Corelli, McCawley commanded fervent power and wonderful romantic coloration. Here was artistry of the highest order. McCawley is a great and unique musician! -South Florida Entertainment News and Views
RECITAL, INTERNATIONAL PIANO SERIES, QUEEN ELIZABETH HALL, 8 MAY 2005
Leon McCawley is a pianist for whom the word "eloquent" could have been coined, combining as he does a wonderful sense of style with a discreetly telling manner of musical interpretation. -The Daily Telegraph, 'The Choice'
CD: SCHUMANN PIANO WORKS, AVIE RECORDS
This is one of the finest Schumann recitals I've come across in a long time...It isn't just the suppleness of McCawley's rhythms and phrasing, nor his sensitive pedalling, range of dynamics and assured though not robotically perfect technique. It's the sheer sense of emotional spontaneity he brings to the music...The set merits an enthusiastic recommendation. -The Pianist, April-May 2004
It is time to give Leon McCawley a puff...and in a fairer world he would surely be making more records. There are few works in the Romantic repertoire as demanding to play asKreisleriana, theDavidsbündlertänze,and the Op 12Fantasiestücke, and the performances on this ambitious double-CD are musically and technically scrupulous,colourful and vital in every detail and sustained with a delightful tone of voice. -Gramophone 'Take 5: Second Opinion', April 2004
A prize-winning pianist makes his mark in Schumann with fine and sensitive playing:Avie’s two-CD album celebrates a richly inclusive cross-section ranging from Schumann’s Opp 2 to 82, from early ardour to later introspection, and vice-versa. For, whatever the opus, Schumann’s ultra-Romantic genius – his rapid shifts from pain to solace, from tears to laughter – is paramount. ...it is in Schumann’s wide-eyed wonder, his naivety, in the most complimentary sense of the term, that...prize-winning Leon McCawley shines and makes his mark...Most of all, he is finely sensitive to the inner promptings and recesses of Kreisleriana: the sehr langsam and Bewegt of No 4, the central mock-polyphonic whirl of No 7 or the alternately gentle and explosive whimsy of No 8 (quite without undue pointing or emphasis) all testify to his winning ease and sensitivity. LPO/MASUR, ROYAL FESTIVAL HALL, DECEMBER 2003 (BEETHOVEN PIANO CONCERTO NO 3) London Philharmonic Orchestra/Kurt Masur, Royal Festival Hall
In Leon McCawley the orchestra had a soloist whose lyricism was underpinned by a satisfying sense of muscle. His interpretation fitted aptly with that of Kurt Masur; the young British pianist and the veteran German conductor made an effective and sympathetic team. McCawley's playing was robust enough not to be overshadowed by the strong, serious orchestral introduction, but it was consistantly thoughtful as well. The highlight was the finale: the spiky, insistent theme kept its piquancy despite so many repetitions, only to be transformed into something truly tender when played in a far-off key.- The Guardian
McCawley’s self-effacing playing of Beethoven’s C minor was totally at the service of the composer, stripped bare of rhetorical mannerisms. So transparent and seemingly perfect was his crystalline clarity - in tempi, tone and colour - that it did not feel like an ‘interpretation’, more the music itself, as written, note for note. The pianist showed great athletic agility and total mastery of the keyboardin the Allegro, whilst in the Largo McCawley became both radiant and reflective, giving a frosted quality to the notes. The concluding Rondo was restrained yet full-bodied and buoyant.McCawley demonstrated the supreme attribute of the virtuoso in concealing his formidable technique in the interests of the work – the true art which conceals art: at no time were we made aware of the pianist showing off with meretricious display. Instead he presented Beethoven as truthfully as possible. Baton-free Masur had total rapport with his pianist and gave a full-blooded reading, securing superb playing from the London Philharmonic Orchestra, the strings in particular having incredible weight. -www.musicweb-international.com
