The American Record Guide wrote that this recording has "remarkable moments of sensitivity and allure.....Pelosi has poured considerable feeling into the music."
Also, the American Record Guide has said about composer Louis Pelosi "His music has an attractive blend of 20th Century verve and dissonance controlled by a romantic element and enriched with a modicum of Bachian counterpoint. In other words, he is an attractively balanced composer, easy on the ear but awakening to the mind."
Notes about the music by the composer:
THIRTEEN PRELUDES AND FUGUES, WITH EPILOGUE, FOR PIANO (2000-03)
The twenty-seven pieces that together comprise my Thirteen Preludes and Fugues, with Epilogue should be taken, if not necessarily played, as one large concert-long work. These compositions form four groups, which reveal internal similarities and balance one another, plus the epilogue. Across these divisions the music ramifies, intensifies – builds – and then subsides. The cycle ascends through the circle of fifths from C to C with, however, no major-minor delineation. Groups I (C, G, D, A) and III (A-Flat, E-Flat, B-Flat, F) are similarly longer than Groups II (E, B, F-Sharp/G-Flat, D-Flat) and IV. The first three groups share formal properties: the first preludes and fugues are generally expansive, the second decorative with preponderant ornamentation, the third stark or quixotic and the fourth the longest and most demonstrative. The grand prelude and fugue that ARE Group IV mimic these approaches within each and serve together as climax and closing of the entire cycle. The epilogue, merging the tonalities of numbers 1 and 12, makes for a final look backward – like a detached coda.
My preludes and fugues are essays of discovery for me, abetted by a conviction that the most substantial music speaks a contrapuntal language whose intellectual satisfaction is indistinguishable from its emotive power. It goes without saying that each prelude and fugue follows its own trajectory, defined in the making, tapping its cane unerringly or not to a certain goal the listener, player (and above all, I) must LISTEN for.
Even though I have with great reverence dedicated this composition to my two principal teachers – Susan Tenenbaum, piano, 1970-77, Neighborhood School of Music (New Haven, Connecticut); and Arnold Franchetti, composition, 1973-76, Hartt College of Music (West Hartford, Connecticut) – the deepest truth is that this enormous composition is largely addressed to my wife, the late Rosemarie Koczÿ (1939-2007), whether she was aware of it or not at the time. For this reason I wish to dedicate this final recording in its entirety to her memory.
Lastly, and with the greatest fervor and humility, I owe a permanent debt of gratitude to Beata Jankowska, the unfailingly meticulous recording engineer, and to Mateusz Borowiak, the exceptional pianist on this recording, who has transmitted – both technically and expressively – the utmost these pieces can hope to communicate to the listener – and, not least, to me.