The Schumann Project, Volume 1, Inna’s new Clara and Robert Schumann CD is now out on MSR Classics!
Clara Schumann’s beautiful G minor sonata, though unpublished until 1991 and rarely played, is a powerful testament to her profound gifts as a pianist composer. His Symphonic Etudes opus 13 are some of the most dramatic, powerful writing for the piano he created.
by Scott Cuellar The Schumann Project, Volume 1 By juxtaposing two large-scale Schumann works, Faliks demonstrates the stylistic and character differences between the two composers very clearly, while espousing a lyrical reading of both works. Clara’s Piano Sonata in G Minor is characterized by Faliks’ sweetness of sound and elegance of temperament. She achieves a […]
by Ron Schepper The Schumann Project, Volume 1 Faliks is well-acquainted with the composers. […] Her intent isn’t to set up an evaluative battleground between the two [Schmanns], but instead show how comfortably their works sit alongside each other, something more easily accomplished when the release presents a single work by each. Faliks rightfully ponders […]
by Joel C. Thompson The Schumann Project, Volume 1 Captivating poetics, unforced and flowing, emanate from the hands of pianist Inna Faliks while she shares her renderings of works by Clara and Robert Schumann on the MSR CD, “The Schumann Project, Vol.1.” The recording includes Clara Schumann’s “Sonata in G Major” and Robert Schumann’s “Symphonic […]
“Her quiet, breathless opening of the staccato Étude 9, marked Presto possibile, puts Faliks is in a league with some of the greatest pianists to record this work.” SCHUMANN Symphonic Études, op. 13. C. SCHUMANN Piano Sonata in g / MSR 7891 (55:10) Ukrainian-born American pianist Inna Faliks is Professor of Piano and Head of the […]
by Gary Lemco The Schumann Project, Volume 1 “Pianist Inna Faliks performs [Schumann] with devotion and energy. … The scale of Faliks’ performance proves immense.” Full Review
by Phil Muse The Schumann Project, Volume 1 “Faliks meets this challenge admirably, using her own impressive technique and sense of proportion to position them for optimal effect. The result is often very moving, as in No.3, which seems like a demonic waltz, and No.2, a feverish dream. Consider the way the luminous Posthumous Variation […]