"After this, the second program startled for its variety.  Violinist Grace Wu partnered with pianist Laurence Matheson in J. S. Bach’s Violin Sonata No. 4 in C minor, the one that starts with a siciliano-suggesting Largo.  The string sound came up to the top of the hall with a satisfyingly easy production; no straining after effects or disruption of the pulse from either musician. This was a modern-day interpretation with no lack of vibrato but a generous fluency displayed by a well-matched and mutually sensitive duo. Matheson demonstrated a gallant sympathy by keeping his bass line – in fact, all the work’s left-hand action – restrained, moderating his upper work to just the right side of staccato when needed in the first Allegro, a well-argued passage of play from both executants.  A highly effective moment came at the end of the Adagio with some excellent congruent interweaving from bar 57 onward.   Even in the finale, Matheson ceded just enough of the ground to Wu without effacing himself, each player working through its bubbling counterpoint with precision and a delicacy that never seemed effete." - Clive O'Connell, O'Connell the Music

"It’s been said that, at an international level, playing the right notes is a given. Laurence gave us all the right notes in Beethoven 111 but that was only the beginning. It was the energy of his playing that set this recital apart from the merely excellent. At times it was as if he had been captured by the tension in the score so that his whole body, from his hands to his feet, exploded..." - Stewart Jackel, AlbertWars Blog

“Following the Dean was an energetic performance of Bach's Brandenburg Concerto No 3 lead by cellist Howard Penny. The concerto is scored for the interesting combination of three violins, three violas and three cellos with continuo; the constant exchanges between the groups – sometimes one by one, from first violin to third cello – provided not only aural interest but visual delight as well. Laurence Matheson was superb and provided some beautiful embellishments throughout on the harpsichord.” – Hoang Pham, Limelight Magazine

“Ernest Hutcheson's two-piano Caprice, treated with aggressive mastery by (Timothy) Young and Laurence Matheson, made a flashy vehicle for its executants…” – Clive O’Connell, The Age

“Yet more players arrived for the Aubade for piano and 18 instruments, including strings, with Wissam Boustany conducting. The pianist was Laurence Matheson and indeed this felt like a piano concerto, with the sound of a small chamber orchestra. This was so brilliantly executed that it would have been a worthy finish for the evening.” – Suzanne Yanko, Classic Melbourne

(Rachmaninoff Suite No.2 for two pianos) “…But it wasn’t difficult; It wasn’t hard work – or it didn’t seem so. It was cascades of gorgeous music that left a gent in front of me grinning with delight as he applauded. Critical to the success of this performance – apart from the technical wizardry – was the synergy of two pianists controlling the rubatos (rubati?) by gut; clearly they couldn’t see each other’s hands. Two superb pianists, one superlative composition; one splendid recital. Bravo, gentlemen!” – Stewart Jackel, AlbertWars Blog