Recordings

This album’s initial half explores Chopin’s most popular waltzes and op.57 in D-flat major. Waltz in A Minor, B. 150, Op. Posth. was writ- ten between 1843 and 1848 but was not published until 1860. The piece delves into great sadness, while lightly touching upon subversive hints of happiness and hope. It is a technically simplistic waltz but musically, the most challenging one. Waltz in D-Flat Major, Op. 64, No. 1, Valse du Petit Chien (minuet waltz), composed in 1847 and inspired by the scene of Chopin’s dog chasing its own tail. Waltz in C-Sharp Minor, Op. 64, No. 2 was composed in 1847, and represents the second work of his opus 64. This C-sharp minor can be carted with sweetness, melancholy and harmoniousness. It can be played more slowly than the first waltz of opus 64. Waltz in A-Flat Major, Op. 64, No. 3 is the final waltz of opus 64. It comprises both lively and lyrical lines. Waltz in A-flat Major, Op. 42, considered one of the finest and most perfect waltzes, was composed in 1840.

This album explores how Liszt transformed Schubert’s music into a uniquely pianistic language. Rather than presenting Schubert’s original works, the album focuses on Liszt’s transcriptions and reinterpretations, highlighting both composers’ artistry. Featuring works such as Wanderer Fantasy, Der Wanderer, Erlkönig, and Ständchen, the program explores themes of longing, imagination, and emotional depth. More than a display of virtuosity, the album emphasizes lyrical expression, rich tone color, and the art of making the piano sing. Through this recording, Dr. Jin Ah Kwon brings her own voice to the musical dialogue between Schubert and Liszt, offering a thoughtful and expressive interpretation of these timeless masterpieces.