New York Concert Review, 2008
"In today’s competitive musical world, the concert was remarkable for its freedom from egotism and rivalry; in a true spirit of homage to the composer, the performers never called attention to themselves or to their technical and musical gifts, but focused entirely on the music. This was a heartwarming and satisfying evening of music."
New York Concert Review, 2011
"Min Kwon, director of the piano department and teacher for the majority of the evening’s performers, offered gracious acknowledgements at the conclusion of the concert. A notable pianist in her own right, she proved to be a skillful and enthusiastic organizer as well."
New York Concert Review, 2012
"It was therefore an exhilarating surprise to discover that a recital of both books of Debussy Preludes (24 in all) turned out to be one of my favorite concert experiences in memory, thanks to Rutgers’ Mason Gross School of the Arts and the inspired direction of Ms. Min Kwon. Their all-Debussy concert at Weill Hall was – dare we use this word? – perfection. All in all, it was an extraordinary musical project, unique, in fact."
New York Concert Review, 2013
"The hardest working pianist of the evening was Min Kwon, the Chair of Keyboard studies at Rutgers. Her liquid tone and seamless phrasing made every piece from the arrangements to Schubert’s TroutQuintet a joy to hear. She was a poised, sometimes humorous, and always gracious colleague… How very lucky are the students of such a fine music department to have these artists to inspire them."
The New York Times, 2015
"The Piano Studio of the Mason Gross School of the Arts at Rutgers pulled off a neat trick last week. Its program at Weill Recital Hall, “The Unknown Diabelli Variations,” strayed far from the beaten path… a remarkable evening that revealed a wide range of pianistic and compositional gifts among the students."
Fanfare
"It is a testament to the excellence of the Kwon-Lehrbaumer duo that one hears these perhaps over-familiar works with new ears. The pianists find surprising depths in the contrasting material in the famous D Major, and hit exactly the right celebratory mood for the second. Charm runs through the third. Each of Schubert’s variations turns into an exploratory delight. The drama of the opening [of the Duo in A Minor] is as well caught as the miraculously pliant, delicate contrasting sections. The duo’s attention to detail is remarkable—try the perfectly even accompaniment just moments before the end… Min Kwon’s disc on MSR of Schubert and Liszt was enthusiastically welcomed by Charles Timbrell in Fanfare 32:3. I am yet to hear that disc (I’d like to, certainly). In the meantime, I can only echo praise of Kwon’s musicality, a musical sensitivity matched by her partner on this occasion, Robert Lehrbaumer."
Fanfare
"The Korean-born Rutgers professor and Austrian pianist/organist/conductor make a commanding duo debut in some of Schubert’s greatest four-hand pieces. Their virtues immediately impress in the Marches Militaires: a crisp élan with absolute unanimity of coordination; subtlety of dynamic and rhythmic inflection; and an attractively light, debonair touch that brings out the lyrical, playful side of these exceedingly un-militaristic specimens of the genre... There is impressive attention to detail, and plenty of time for it to speak. The disc is beautifully recorded, and all in all this stylish, refined duo is easy to recommend. I’ll be looking out for more from them."
Atlanta Audio Society
"Min Kwon is much in demand these days as both recitalist and teacher. This new MSR release, the pianist’s solo debut on record, immediately shows us why. Her suppleness of finger, elegant phrasing and expert use of the rhythmic flexibility known in music as rubato, all serve to raise this Schubert/Liszt recital well above the ordinary. Other critics have praised Min’s readings for being elegant and well-proportioned. Without denying any of that, I’d like to focus on her fire and conviction… Min Kwon’s answer to them makes the finale a pure delight. At 38 minutes, this sonata may seem overlong for the material, but with a performance like this, who cares? A brilliant passagework, the expressiveness of Liszt’s sonorous chords, and the dazzling sweep of one of his most striking solo works."
American Record Guide
"Kwon views dynamics, pedaling, and color in a unique way. [In Schubert's Con M'oto] Ms. Kwon finds herself and reveals the full beauty of the music. All flows naturally, with phrasing so gentle and lovely the notes breathe with just the right motion. The concluding rondo is a model of refined delicacy…[Gretchen am Spinnrade] is performed most beautifully. For the Don she shows a willingness to play at full thrust to emphasize our hero's braggadocio. Like the Don, she can boast of a full conquest-this time of the music's temperament and technical demands."
Classical New Jersey Society.org
"Kwon’s ability to fine-tune her dynamics lay as the foundation to the success of the Sonata. Kwon understood and controlled well the tension between surface elegance and inner drive and exploration. It was the finest performance of this Sonata [Haydn] I have heard to this date. The recital finally reduced itself to a simple “Wow!”"