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In zahllosen Zeitungskritiken werden vor allem Michael Leuschners lyrische Darstellungsweise und seine den Werken dienende Musikalität gerühmt. Einige Ausschnitte aus deutsch- und englischsprachigen Zeitungen:

"...entpuppte sich Leuschner als Klangzauberer: Mit einem ausgesprochenen Gefühl für lyrische Höhepunkte schlug er übergreifende Bögen, ohne Details zu vernachlässigen. Die Musik lebte, atmete"

"Leuschner spielt ebenso grundmusikalisch wie lebensvoll, ebenso pianistisch sensibel wie interpretatorisch zwingend... Nach solchem Bach und Chopin brauchte man um Beethoven nicht zu bangen. Er wurde zu einer idealen Synthese von subtiler Empfindung und vitaler Ausdruckskraft. Dynamische und agogische Feinarbeit. Stürmischer Beifall."

"Das Ballett der unausgeschlüpften Kücken (aus Mussorgskijs "Bilder einer Ausstellung") geriet ihm so glitzernd-akrobatisch, daß man freudig staunte, und als dann das "Heldentor von Kiew" keineswegs zu der oft zu hörenden Klavierdonnerei wurde, sondern auch im Fortissimo immer noch rund wohlproportioniert erklang, da wurde endgültig klar, welch ein feinfühliger Musiker sich hier dieses Repertoire-Höhepunkts angenommen hatte."

"Märchenhaftes Legato und farbenreicher Anschlag...Eine phänomenale pianistische und künstlerische Leistung (Beethovens Hammerklaviersonate op.106) schuf sich in den Ovationen Luft, mit denen das zahlreiche Publikum Michael Leuschner feierte. Eine Sternstunde für einen sensiblen und sympathischen Pianisten..."

"Firm, reliable fingers to surmount technical hazards and a sensitive mind attuned to poetry in the music, are essential prerequisites for a pianist presenting Schubert Impromptus, a late Beethoven sonata and a Liszt tone picture. One of Germany's foremost pianists, Michael Leuschner, showed he was generously equipped with both..."

"Michael Leuschner is an admirable exponent of modern piano playing...
...Technically impressive, Professor Leuschner's performance was verging on flamboyant..." (über seine Skrjabin Interpretation)

"Michael Leuschner was a convincing Schubertian. The first movement (of the Sonata in B flat major), very relaxed yet luminous, was followed by the essentially gentle Andante. the articulation in the final two movements was infused with energy, wonderfully refined."

"In a city justly noted for its patronage and appreciation of fine music, Leuschner's recital stood out as an exceptional aesthetic experience."

Master of the understatement
"In an age where hype reigns supreme, Michael Leuschner is a master of understatement. His finely honed and thoughtful pianism is a far cry from the playing of today's young turks, who tend to be obsessed with speed and physical strength. They could learn a great deal from Leuschner, whose style harks back to German masters such as Kempff and Backhaus.
Leuschner does not stun or dazzle; rather he persuades and seduces with the clarity, delicacy, subtlety and intense reflectiveness of his interpretations.
Four Scarlatti sonatas were suffused with a flamenco melancholy, the undercurrent of passion suppressed but still palpable. At the same time, there was admirable delicacy and vivacity in the faster sonatas. Schubert's great sonata in C minor, with its ample time scale, gave plenty of opportunity to hear Leuschner at his best. By turns dramatic and lyrical, Leuschner conveyed Schubert's poetic vision with great clarity and insight. A deep appreciation of Schubert's structural architecture is essential to a work like this, which in lesser hands can end up a sprawling, barely coherent mess.
Leuschner's rhythmic control , coupled with his sensitivity to tonal and thematic relationships, ensured an engrossing performance. Two short works of Mozart again revealed Leuschner's unassuming but cogent musicianship. He wastes neither time nor energy; he seems determined to convey his intentions with minimal fuss and maximum efficiency. In view of that, Chopin's extravagant Grand Polonaise seemed an unlikely choice with which to end. While the Andante allowed Leuschner scope for some delicate bel canto, the polonaise itself is a youthful, virtuoso stunt which, if nothing else, established Leuschner's technical credentials.
But his encore, Debussy's Ondine, brought us back to the delicate, refined playing which is Leuschner's strength."
Stephen Whittington (The Advertiser, Adelaide, 27.3.2001)

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