“Halim had a blazing talent plus an unusual empathy with nineteenth-centry Romanticism. That meant rhythmic freedom, beautiful sound, and a world-class technique.”
Harold Schonberg
The New York Times
“Temperament, technique, musical understanding, heart-Halim had it all.”
John von Rhein
Chicago Tribune
“…size, color, fleet brilliance, theatricality and rhythmic freedom… Mr. Halim may be the most charismatic pianist to come along since Van Cliburn.”
David Daniel
The New York Time
…Eduardus Halim, the last pupil of Vladimir Horowitz, [played] a stunning piano recital at Sunset Center…His vision was of epic proportions…there was a keen musical intelligence, vitality and conviction behind his interpretations. And the audience loved him…Halim played with glorious abandon and authority, and he made a powerful and convincing statement…This was playing in the grand manner, [which] brought the audience to its feet in a rousing standing ovation.”
Lyn Bronson
Monterey, California
“He has staked out an imposing claim as a Romantic pianist who has the fingers for virtuosity and an imagination for poetry.”
John Ardoin
The Dallas Morning News
“Indonesian born, Halim is a slight man but a big pianist….he was judging as well as relishing every moment and his controlled intensity in the inspired non sequiturs of Schumann's Humoreske made a compelling case fo this neglected work.  With its vein of manic enthusiasm which only the finest technique can serve.  Halim certainly has that.”
Adrian Jack
The Independent, London
“Halim combines a phenomenal virtuosity with poetic creative force reminiscent of Horowitz and Schura Cherkassy."”
Von Gerg Borchardt
Die Welt
“Halim, whose heart obviously beats in sync with that of Brahms, is an engaging presence at the keyboard, serving not only as a sensitive interpreter, but also as something of a listener's guide as well….His playing is beautifully articulated; his technique a reason for awe. Halim displayed a master's sense of the epic sweep of this score, a fully orchestral concerto if there ever was one, and the young artist worked hand-in-hand with Bernstein, long established as a Brahmsian of the first order, to make this so satisfactory a performance.”
Wes Blomster
Daily Camera, Boulder, Colorado
“Winged by an effortless technique, Halim is relaxed, spontaneous, almost casual in this superhumanly demanding fare. Enthusiastically recommended!”
FanFare
“Thursday night's concert featured the formidable Indonesian pianist Eduardus Halim – the hero of the festival – amid the engagingly peculiar mock-Mayan motifs of the Church of Religious Science. Halim performed well on Schubert and Dvorak, despite some ragged playing and intonational indiscretions by fellow musicians. He hit an expressive pinnacle on Prokofiev's Sonata in D for Flute and Piano, wich flutist Carol Lockart.”
Josef Woodard
Los Angeles Times
“Halim is definitely a pianist to watch out for.”
Peter G Davis
New York Magazine
“The Indonesian born musician showed a flair for romantic repertoire that can exhaust the techniques and musicality of many young talents.”
Kate Rivers
The Washington Post
“Dwelling on Halim's virtuosity would be easy, but his instincts as a poet of the piano seem equally strong and a wonderful foil for the pianistic fireworks. He possesses a clear articulation, both in individual tone production and etching rhythmic and lyrical patterns.”
Herman Trotter
The Buffalo News
“When Halim plays, the music sounds true to its composer, but also as if Halim had had a hand in composing it. The second Chopin concerto calls for delicate filigree work that in this case was sometimes overwhelmed by the orchestra. What reached the audience was supple, with wide-ranging nuances of tone color. Phrases breathed naturally, with rubato applied in the best freely expressive, Chopin idiom. This elegant playing touched on the soul of the music.”
Elaine Guregian
The Beacon Journal
“In a performance distinguished for its focus and sensitivity, captivating in its dreamy meditation and brigh-toned flair, pianist Eduardus Halim conjured images of the work as the virtuosic vehicle it must have been for its then 19-year old composer.”
Susan Bliss
Los Angeles Times
“The young Indonesian pianist is super-gifted… The colors and articulations at his disposal appear limitless. The speed and cleanliness of his playing are of the jaw-dropping variety…his technique is idiosyncratic. Halim is capable of minute degrees of nuance and thus a breathless expressivity…Halim's playing was dazzlingly ornate and yet varied and directed with purpose…a distinctive musician all the way.”
Timothy Mangan
Los Angeles Times
“...playing of remarkable accuracy and pliability, a melting tone and an ability to point up interesting details in an authoritative manner. He's clearly the kind of pianist on whom an aficionado could develop a serious crush.”
Stephen Wigler
The Baltimore Sun
“Halim demonstrated how much mileage remains in those rapturous, head-spinning notes of the Rachmaninoff Third. The force and clarity his spidery fingers achieved proved as compelling as the way he avoided monotony of dynamics.”
Tim Smith
The Baltimore Sun
“...the Indonesian-born Halim seems made for the piano, with his large hands and skinny fingers. He holds his wrists below the keyboard, the same position as his late teacher and friend, Vladimir Horowitz, though Halim played that way long before he cam under the maestro's tutelage. His beautiful tone, world-class technique and deeply romantic approach were ideal for the D-minor Concerto, whose blazingly intense runs in the finale are as thrilling as anything in music.”
John Fleming
St. Petersburg Times
“…Halim is an aristocrat of shading and dynamic, his spidery dexterity eliciting a multitude of colors and ideas. One doesn't always agree with them, but he sounds like an individual in this music and that is rare.”
Chris Pasles
The Los Angeles Times
“Halim minimized those deficiencies with skill and his ability to draw out singing, delicate melody, even at the softest dynamic level, was wonderful…Halim showed that he certainly knows his way around the keyboard and that he does so with intelligence and much beauty of tone.”
The Critical Ear
Santa Fe, New Mexico
“There's no question that he has phenomenal technique and strong views about how to use it. He provided some ravishing, highly emotional moments.”
Wynne Delacoma
Chicago Sun-Time