"The music by Beata Moon beautifully augmented the intensity of their tender pas de deux."
Sue Salko, NY Theater Guide, November 2011

“Moon’s music is marked by its ease of expression and accessibility, although it cannot be described as sentimental or backward-looking. It is witty, urbane, and sophisticated, and Moon’s sense of roots and tradition is more likely to take her back to the rolling farmlands of Indiana rather than anything associated with her native Korea.”
David Lewis, All Music Guide, May 2008

“Moon's writing and playing reveal both playfulness and an acute awareness of what works; she slips easily between styles without being obviously eclectic, and her music holds together through sureness of technique.”
Blair Sanderson, All Music Guide, 2007

“Her pluralistic style is not easy to pigeonhole but the idiom is attractive. Within concise forms she uses plenty of material and composes for her instrument imaginatively.”
Patrick C. Walker, MusicWebInternational, July 2007

"Both works were sensitively performed by the soprano Lisa Flanagan and the pianist Beata Moon..."
Anthony Tommasini, The New York Times, March 2006

"The best has a super score by Beata Moon."
Francis Mason, WQXR -The World of Dance with Francis Mason, October 2005

"A composer of many facets: populist, jazzy, bleak, modernistic, minimalist. She has it in her to grip the listener..."
Rob Barnett, MusicWeb International, November 2004

"performed sweetly and expertly by Ms. Moon"
Douglas Frank, Dance Insider, January 2004

"There's something charmingly at-ease and untortured about Moon's music"
Kyle Gann, The Village Voice, March 2002

"...the ensemble really jammed"
Anne Midgette, The New York Times, February 2002

"...the group includes some outstanding musicians, not least Ms. Moon herself"
Anne Midgette, The New York Times, February 2002

"The most powerful collaborative whole was 'Mahsul,' by composer Beata Moon with poet Nadine Mozon. The words themselves...were given extra power by the music"
Daniel Felsenfeld, Andante, August 2001

"Moon's wonderful music"
Peff Modelski, Attitude, 1998

Composer Beata Moon...writes music with the elusive combination of simplicity and originality.
James Manheim, All Music Guide, August 2012

“The music by long time collaborator and composer Beata Moon was rich and varied.”
Deborah Wingert, EYE ON THE ARTS, NY, November 2011

"What is most startling is the pervading confidence. Most composers spin their efforts in the tonal sphere ironically or self-consciously. Moon writes compelling music that is utterly sincere – no hip or academic filter needed...this disc is exhibit A in the continuing court-of-public-opinion case on the accessibility of quality new music."
Andrew Druckenbrod, Gramophone, November 2007

Ms Moon performs her own works here, and it's hard to imagine anyone else bringing such near-surgical exactness and feints of keen emotion to these wonderful pieces. You won't find anyone's influence here, but you do get a glimpse of everything and everyone she's ever studied, living and dead... So here is a collection of finely performed and intellectually (and emotionally) stimulating works for contemporary piano. I liked this quite a lot and will return to it often.
Paul Cook, American Record Guide, November 2007

"But there were lively ideas swirling around - not least, the notion for the series itself. Directed by the pianist and composer Beata Moon, it throws a spotlight on composers who perform their own works."
Allan Kozinn, The New York Times, January 2006

"...the original score for violin, cello and piano by Beata Moon give reason enough to wholeheartedly enjoy this colorful theatrical avant-garde ballet."
Bella Rehnquist, The Bearnstow Review, October 2005

"Some of the freshest classical music..." Safari (Beata Moon) alternated a driving piano rhythm with more reflective, consonant music."
By Charles Ward, Houston Chronicle, September 2004

"The ensemble included several established new-music pianists like Jed Distler, Anthony de Mare, Beata Moon, Lisa Moore and Frederic Rzewski, plus lesser-known younger players. As a group, they played gamely and energetically."
Allan Kozinn, The New York Times, September 2003

"...extremely attractive and engaging chamber works"
David Vernier, Classics Today, 2001

"...delicate and aggressive (and impressive) keyboard technique"
David Vernier, Classics Today, 2001