“ From the work’s first thundering introduction replete with virtuosic runs and trills, the tall lanky Hagle reigned over the concerto [Liszt #1]. His solo passages were tender and played with freedom. He used the pedal sparingly, bringing clarity and light to the composer’s frequently dense passages…Hagle displayed the powerhouse technique necessary to bring Liszt’s monumental music to fulfillment.” – Evanston Review
 “Admirably accompanied – and where required sounding truly orchestral – by Matthew Hagle”- musicwebinternational.com


“Matthew Hagle provides superb piano accompaniment throughout, with a deep, rounded touch” – sequenza21.com

“Pine and her very able piano partner Matthew Hagle treat us to a true celebration of the violin in its several guises.” classicstoday.com

“It was a worthy performance, strong and even, of a piece that should be played more often. This was equally due to the virtuosic playing of pianist Matthew Hagle, who reacted to the difficult writing with a sense of adventure…” – ionarts.com

“Hagle took a more understated approach than was ideal at times for this duo-concertante work, but provided polished and alert keyboard work.” – chicagoclassicalreview.com

“There was nothing reserved, however, about the performance of Bartok’s “Contrasts” for Violin, Clarinet and Piano…Yesterday’s reading was exceptionally alert…filled out by Hagle’s incisive, keenly pedaled contributions. The third movement Sebes (fast dance) was a whirling,explosive testament of joy.” – Louisville Courier-Journal

“She was joined for the rest of the program by Matthew Hagle, a sensitive pianist who knew when to defer, and when deference would be counterproductive. They proved a well-matched duo in Mendelssohn’s Sonata in F (1838), which gives both players singing lines as well as sparkling, brisk figuration. – New York Times

“There were no signs of angst from these two visitors [Rachel Barton Pine and Matthew Hagle], whose rendition of the stark, at times chilling piece [Prokofiev Violin Sonata #1] explored every conceivable emotional twist and turn. To call this a brilliant performance is an understatement.” – CVNC: A North Carolina Online Arts Journal

“The performers were outstanding…Matthew Hagle was scrupulously attentive and responsive on the piano.” – New Haven Register

“The playing level proved to be high indeed. This was reflected …in the performances of three outstanding American pianists: Roger Wright, Paul Wyse, and Matthew Hagle” – Piano and Keyboard (review of the 2000 Sydney International Competition)

“Hagle played with unaffected brilliance and profound understanding of Brahms’ structure and architecture. Corraling the master’s fistfuls of notes into elegant phrases and majestic expostulations, Hagle provided the ensemble with a steadfast central dynamo from which to generate fields of musical energy. Rhythmic dependability, guarded exuberance, and a glorious fourth and fifth-finger legato with which to sing gleaming upper-octave melodies above the pulse of the strings indicated the presence of a dauntless Brahms player. To put a piece of this technical magnitude and emotional complexity together in less than a week would have been impossible without a pianist of Hagle’s obvious merit.” – Springfield (MA) Republican

“…Matthew Hagle…performed Rachmaninoff’s Concerto #1 with a rare clarity and sweetness.” – Clavier Magazine

“Matthew Hagle was more than able in sonatas by Beethoven and Richard Strauss, playing with clarity, power and compelling musicality.” – Rutland (VT) Herald

“Pianist Hagle was terrific throughout this sonata …. The pianist is required to play a great deal of virtuosic material, and he did so with aplomb.” – Palm Beach Arts Paper