New York Times, 17.5.13, A. Tomasini

Commanding solos in an evening of concertos. This year the chosen soloists were particularly excellent...Mr. Moser (who at 6-foot-6 may be the tallest pianist since Van Cliburn) tore into Liszt’s Piano Concerto No. 1 in E-flat, giving an impetuous and powerful performance. His playing was impressive for its organic sweep and full-bodied character..., this was an urgent and feisty performance.

Westdeutsche Allgemeine Zeitung, 28.5.13

Benjamin Moser is an artist of overwhelming musicality. In the last Schubert sonata, we hear pure beauty, as the pianist allows it to blossom in all its simplicity. The pianist formulates these plain and heartfelt melodies almost like a prayer, lets them breathe and linger in the air. This is music for the soul.

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".

Russkaja Linija, Tchaikovsky Competition Moscow, 10.07.2007
"Benjamin Moser convinced the audience with his honest and heartfelt interpretation of Russian music. Especially the Rachmaninov Preludes and the F-major variations by Tchaikovsky will remain in our memory. Not without reason, the special prize for the best interpretation of Tchaikovsky´s works was given exactly to Moser (...). With it´s lyricism and honesty, his playing attracts in the best sense of the word, he has a beautiful, soft sound. He makes no unnecessary show on stage (as if he´s not competing on stage, it seems, as if he would play in a circle of friends for his own joy) and his walk and high growth involuntarily cause associations with the young Cliburn.