Curriculum Vitae

“Bengtson is a Scriabinist for the 21st century, one who embraces the interpretive objectives most valued by his contemporaries among composers, theorists and performers. ... Bengtson, who imitates no one, has synthesized the most persuasive elements that the best Scriabin interpreters ... have set forth over a century. To that end, he can now join those esteemed Scriabinists upon whom future generations can rely for definite interpretations.”
- John Bell Young, Fanfare 38:6, July/August 2015

“... the sensuous weave of Scriabin’s visionary palette remains palpable in Bengtson’s rendition. ... The sheer color range - especially in the high-register trills and arabesques - of this rarely performed sonata [number 6] warrants the price of admission. ... We spend with Bengtson over an hour in a rarified labyrinth, infinitely and ineffably compelling.”
- Gary Lemco, Audio Audition (audaud.com), March 2015

“ ... Bach has strewn this music with cliffs to increase its difficulty, and Bengtson impresses with the ease and precision with which he navigates them. ... the extraordinarily versatile Bengtson ... addresses the Goldberg Variations with a facility that is rarely achieved even in the canonic reference recordings. ... His faultless playing, at tempi that are sometimes extreme, and with an exactness in his interpretation that is very rarely heard, make us forget that all this is also a major technical feat.”
- Südkurier No. 240, Tuesday 16 October 2012, p. 29

“This rather young pianist played by heart - a remarkable feat of memory that was combined with a stupendous gift of interpretation. ... With the “Goldberg Variations,” ... the virtuosic artist raised a monument for himself.”
- Siegfried Kouba, Schwarzwälder Bote no. 240, Tuesday 16 October 2012

"Pianist Matthew Bengtson captures the explosive moments of the composition [Jan Krzywicki’s Alchemy] well, and his use of expressive timing makes the notes really tell a story." - David Pearson, "I care if you listen" blog, Dec 28, 2011

"... 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. ..."
- Byzantion, MusicWeb International, May 2011

"... 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 AlbAlbénizniz 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 Rene Bayley, in Fanfare 34:5, May/June 2011

"... 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

"... 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.
- Dayle van der Sande, in the Polish Music Center Newsletter

"... 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 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."

"... 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."
- Courtenay Cauble, Ridgefield Press, February 13, 2003

"... Bengtson displayed remarkable poise, on top of a suave and craftsmanlike artistry. ... [He] 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, Diabelli Variations

"... 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

"... 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

Fortepiano tuner and technician
Tuned for Baltimore Opera and Philadelphia Orchestra performances
as well as some of my own concerts and recordings

Harpsichord tuner and technician
Tuned for the Curtis Opera Theater

College Music Society
Westfield Center for Historical Keyboard Studies
American Liszt Society
Scriabin Society of America
Phi Kappa Lambda