Here are some recent reviews of my recent recording, Roméo 7280:

     From the very first notes, the aptly named Evocacion, the opening section itself of Iberia, atmospherically conjures up the lazy, hazy landscapes of sun-soaked Spain, which Bengtson paints with graphic brilliance. ...Triana begins deceptively straightforwardly, but soon the swirling notes and polyrhythms begin to pile pressure on the pianist - yet Bengtson does not even break into a sweat. ... There are 17 short variations in [the Mendelssohn], many requiring a heroic attention to dense detail and fingers that move close to the speed of light - Bengtson has both of these. A breathtaking work, and an excellent account of it. ... The rousing, spectacularly virtuosic Finale [of the Chopin Sonata] is particularly superbly played by Bengtson, without the merest hint of trepidation.    See the whole review
(.. Byzantion, in MusicWeb International)

     Bengston plays in a warm, lyrical, elegant style, closely allied to that of the French school, and his performances will certainly not disappoint anyone familiar or unfamiliar with these works, ... He is certainly an artist to watch ... I have no qualms in recommending this CD to hear a new and interesting piano voice. Bengtson's phrasing is exceptional; the Albéniz pieces, in particular, are extremely good, having a warm, almost exotic quality that I find quite hypnotic. Bengtson is one of those pianists whose technique, though considerable, is not of the type that draws attention to itself, but to the music. (.. Lynn René Bayley, in Fanfare, 34:5, May/June 2011)

     It's been six years since ARG critic Lawrence Budmen wondered where this wonderful surprise of a pianist came from (July/Aug 2005). I’ll second that notion! I must say I didn’t expect much when I cracked the plastic on this unassuming package from Romeo Records. I certainly didn’t expect the music to sound as deep, beautiful, natural, and nuanced as this. One of the things I like best about Bengtson’s playing is his varied color palette. For the Albeniz he defaults to a warm, mellow tone, which is activated by deft, rhythmic pulses in the bass register. At a moment’s notice, though, he can shift to silvery bright tones. ... Another significant plus is his rhythmic sensibility, which does full justice to the Spanish rhythms that supply a backbone for this music. One more strong attribute worth mentioning is his contrapuntal control. There is a rich multilayered sound to the Mendelssohn Variations, where we get the clear sense that the melody is doing one thing, the middle voice another, and the punctuating bass yet another. This, along with the occasional bonus touch .. puts this account of op. 54 over all the others I've ever heard, including Brendel’s. (.. Brent Auerbach, in American Record Guide May/June 2011)

Here is Dr. Debra Lew Harder’s blog on my December 2009 performance of Beethoven’s Diabelli Variations and Schumann’s Nachtstücke.

Here is Dr. Dick Strawser's blog on my January, 2009 performance at Market Square Concerts in Harrisburg.

And here are some more review excerpts:

    ...The pianistic highlight of the evening was Tantris the Clown. Mr. Bengtson entered into the role of a Pagliaccio as a great actor-pianist. His is a schizophrenic clown, easily shifting mood, color and character from phrase to phrase. His rendering was so compelling, that his clarity of tone and attack and rich Romantic sound could go easily unnoticed.    See the whole review
(.. Dayle van der Sande, in the Polish Music Center Newsletter)

    Bengtson is not only a wildly gifted concert pianist acclaimed for his performances of Scriabin and Szymanowski, but also a specialist in early music who concertizes on the harpsichord and various fortepianos (early pianos). ... Bengtson brought his own Dutch reproduction of a 1785 Viennese fortepiano (similar to those used by Mozart), with a knee pedal and leather hammers. ... I have to say I was entranced by the sound of this instrument - it sounds like a far-away, ghostly piano with a very sweet tone - and by the way Bengtson played it. ... Bengtson performed Sonata no. 3 (“Philadelphia”) in C major by Alexander Reinagle, a Philadelphia-area composer of the late 18th century, with amazing control of the technical difficulties of the piece and the instrument.
(Susan L. Pena, Reading Times, May 13, 2007)

    ...Bengtson’s incisive, technically impressive readings certainly exhibited the same qualities heard in the best vocalists: exquisite phrasing and a singing tone. ... Bengtson is both analytical and creative, a winning combination for any pianist; the two sides of his brain seem to be perfectly balanced. ... Bengtson demonstrated his analytical side in two excruciatingly difficult Etudes by the living Transylvanian composer Gyorgy Ligeti: the first, “Desordre” had rhythmic challenges inspired by chaos theory and fractals, and the second, “Automne a Varsovie (Warsaw)” was played in three different tempos at once -- a seemingly impossible feat pulled off with elan. ... Bengtson is amazing.
(Susan L. Pena, Reading Times, May 14, 2006)

    ...Bengtson is a remarkable artist. ... Big-boned pianism, rich tonal colors, and dazzling technique are on display here. Has Scriabin ever been played better? Only Horowitz and Richter can compare to what Bengtson achieves on this disc. ... exciting music-making.
(.. Lawrence Budmen, American Record Guide, July/August 2005, on Scriabin Sonatas, Romeo Records 7232)

    ...Bengtson can caress Scriabin’s phrases in a breathtaking way ... these performances are often striking in their color. (.. Peter J. Rabinowitz, Fanfare, July/August 2005 on Romeo 7232)

    ...the program’s musical high point was pianist Matthew Bengtson’s performance of Beethoven’s Concerto No. 4 in G. it was in very good hands Saturday evening.
...Matthew Bengtson is a musician’s pianist - the sort of performer who eschews theatrical showmanship in favor of giving his full attention to communicating a composer’s musical thought.
...It may be that Mr. Bengtson’s serious study of the harpsichord contributed to the expressive beauty of his piano performance, where extraordinarily lovely phrasing and crisp articulation, never marred by overly heavy use of the sustaining pedal, provided a classical clarity that brought light to the music. If one part of the performance were to be singled out as special, it might be the second movement's dialogue between piano and orchestra. A critic commenting on Beethoven's playing at the work's first performance remarked that Beethoven ‘sang the lovely second movement on his instrument with a profound sweetness that quite moved [him].’ Had the same critic been present Saturday evening, Mr. Bengtson’s reading might have equally moved him. It was a beautiful performance by both soloist and orchestra.
(.. Courtenay Cauble, The Ridgefield Press, February 13, 2003)

    ...Bengtson displayed remarkable poise, on top of a suave and craftsmanlike artistry.
...played with clarity, sweetness and a light touch that suggested a fortepiano of Beethoven’s time rather than the modern Steinway grand that was actually under his fingers.
...a fine ensemble player, he also has a wonderful sense of rhythm and phrasing, fitting the piano part into the texture of the orchestra rather than dominating the piece.
(Susan L. Pena, Reading Times, April 8, 2002)

    ...The music’s challenges, suited to the most seasoned performers, were managed with a fine mixture of mature capability and youthful promise.
...He took in stride all of the music’s enormous technical demands and rapidly shifting stylistic changes. Rhythms were crisp, harmonies well defined, lines of counterpoint carefully balanced and distinguished.
(Joseph McLellan, Washington Post, April 23, 2001, on Beethoven's ‘Diabelli Variations’)

    ...He made the most of the score, giving it a true Romantic reading.
...He achieved a gossamer, veiled sound like curtains blowing.
(Susan L. Pena, Reading Times, February 1999 on Schumann's ‘Davidsbundler’)

    ...In both performances, he proved himself an artist of formidable intelligence, confidence and charm.
...Never one to take the easy way out ..
...Bengtson's direct style - very natural, with no mannerisms - worked well for him in this piece, which he gave a noble and powerful reading throughout.
...he gave the long, spacious phrases all the breadth they needed.
...Technically flawless and amazingly mature.
(Susan L. Pena, Reading Times, February 12, 1996, on Brahms's Piano Concerto no. 1 in D minor)

    ...quicksilver fingers .. incisive, thoughtful interpretations. ...he played a series of short pieces by Alexander Scriabin .. a composer for whom he has a clear affinity .. He played with great delicacy, a beautiful singing tone when called for, and a formidable left hand. He absolutely reveled in these pieces, and his delight translated into readings that communicated fully with the audience.
(Susan L. Pena, Reading Times, April 10, 1995)

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