Rheinische Post, 6th September 2011 (Recital in Rheinberg)
The "Musikalische Gesellschaft" opened its´concert series with a sensitively poetic Piano Recital. The Prize-winning Pianist Benjamin Moser conviced with his superior technique and a broad spectrum of fulfilled piano music. He articulated most vividly in a mixture of simplicity and finesse, tender graciousness and precise rhythmical touch (in the Beethoven Variations Op.34).  His fine touch and subtle use of the pedal made the Bosendorfer Grand Piano sound wonderful and created an extraordinary richness of colour (in the Brahms Pieces Op.118). In Prokofiev´s Romeo and Juliet, Moser didn´t are away from the extremes, there were moments of distinguished intimacy as well as literal explosions in the aggressive passages, without ever slipping into noise. His passionate and grimly-impressive rendition (of Prokofiev´s sonata No.7) prompted the audience into spontaneous bravo-exclamations.

Washington Post, Rezital Washington Kennedy Center, 10.April 2008
"From Pianist Benjamin Moser, Single-Handed Finesse.(...) After hearing his program, it would be hard to imagine Moser making an ugly sound. We would expect beautiful playing in the "October" and "January" movements from Tchaikovsky´s "The Seasons"- turned out here with a wistfulness and singing tone that brought Schumann to mind - and in Skrjabin´s Two Pieces for the Left Hand Op.9, which many pianists could not have made sound so rich and full as Moser´s performance if they had used both hands. But with certain pianists, Skrjabin´s B Minor Fantasy, Op.28, the "Scarbo" from Ravel´s "Gaspard de la Nuit" or the finale of Prokofiev´s seventh sonata can be made to hector. Not here. In each piece, Moser´s masterly pedaling, powerful but controlled left hand and scrupulous layering of dynamics ensured a clarity and solidity to the sound that never lost tonal luster, even at triple forte. And, more crucially, every piece spoke from the heart."

Nordbayerischer Kurier, 11th September 2011 (Recital in Bayreuth)
In a few bars of his playing (of the Brahms Intermezzi Op.118) you could hear an entire life. Deeply sad and moving to tears.  He knows exactly what he is playing, giving the emotion to the listener, but at same time staying absolutely clear.  (In Prokofiev´s Romeo and Juliet) he played with youthful exuberance, sympathizing with the Young Couple and the humor of Mercutio. What a fine choice of the Wagner Foundation to invite this young artist.  Moser plays old pieces- which suddenly sound very new!

New York Times, Rezital Carnegie-Zankelhall New York, 28.März 2008
"His technique and musicality were shown to fine effect in Skrjabin´s Chopinesque "Two Pieces for the left hand" (...), in Mr. Moser´s eloquent performance it seemes as if two hands were playing. Both of them flew across the keys in his passionate, colourful rendition of the composer´s tumultuous Fantasy in B minor Op.28. (...) The program also included Elis:Three Night Pieces by Heinz Holliger (...). Mr.Moser gracefully played the three short abstract movements. For encores, Mr.Moser, who was certainly an audience favourite on Tuesday, offered a fiery, virtuosic rendition - notable for its chrystalline articulation and driving momentum - of the third movement from Prokofiev´s Piano Sonata No.7 and a whimsical interpretation of the first movement of Schumann´s "Kinderszenen".