It was clear from everything about this … concert that [Pelosi] prospers by carving out his own
unconventional path, composing with his own tonal language …
Rorianne Shrade, New York Concert Review, April 2023
All the hallmarks of Pelosi are present: strong imitative counterpoint, motivic unity,
a recognizably personal sound.
Pelosi’s Twelve Etudes … take issues of sonority (primarily) as their focus, but in ways that
Debussy (even Ligeti) didn't imagine. … challenge the pianist to hear in such sophisticated ways,
all the while negotiating some of the most complex keyboard structures.
Louis Pelosi … has so much to express, succeeds in doing so, and has the best young performer/
advocates to share it with us.
Frank Daykin, New York Concert Review, April 2022
Pelosi is a firm structuralist.
The works hold together because of superb thematic unity.
Pelosi seems to speak of tragic things, immense things, and his use of what I call “seeking and
finding” in evaluating various contrapuntal outcomes leads him to his own seeking and finding of
interior emotional states which he generously shares with the listener. The music requires intense
concentration, which is the least we can do when someone creates such material.
His music is very brooding and gestural, favoring imitative counterpoint with difficult, intricate
textures that utilize the whole keyboard. He accomplishes all this without sounding neo-Baroque.
He is an original.
Frank Daykin, New York Concert Review, November 2017
