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Barbara Moser |
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| 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. | ||||||||||||||||
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| 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 |
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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. |
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