Barbara Moser          





She made a major case for Liszt's Piano Concerto No.1, bold in its many bravura passages and finding poetry in reflective moments. For once it seemed as much real music as a technical showcase. Moser seduced her audience with subtle shading, the gentlest caressing of pianistic touches and a blanket refusal to be hurried in the unfolding of the music. She has the  combination of light virtuosity and a singing musicality which fit well with the fresh romantism in Mendelssohn: Flying energy in save controlled tempi, a lot of poetic taste and colour and a lot of fervour in the andante. Sensitive but without sentimentality.


Her trademark are nobly phrased transitions, sparkling scales and a touch to the piano clear as glass. In the cadenzas Moser showed a wide spread of expression from relaxed cheerfulness to elegant bravura.

Subtle and brilliant

Frenetic applause for a great program and successful delivery. Within this recital's atmosphere it's easy to imagine Franz Liszt's and Clara Schumann's triumphant tours.

Her playing had grandness and plasticity, subordinated to logical legitimacy, musically speaking and therefore developed into a thrilling excursion of formal development.
Die Presse

The Washington Post

Argumentations for a Lisztomania

Barbara Moser appears justly in the same series as Brendel, Pollini and Kissin. She models naturally breathing singing lines like hardly any of her competitors.

Within Franz Liszt's rhapsodically designed b-minor sonata Barbara Moser was very much at home. She managed to combine spontaneous sensitivity and control in perfection, garnished with a dash of virtuosity which denied any eccentricity.

Austrian Pianist Brings Tuneful 
Vienna  to Life



"Die Tasten-Virtuosin als strahlende Heroine"
The keyboard-virtuosa as radiant heroine


"Wert der Virtuosität"
The good value of virtuosity


"Tönende Beweise wienerischer Tradition"
Sounding proof of Viennese tradition


" Welcher Ton macht die Wiener Musik?"