by Polina Cherezova
“Musicians find a way to connect to the given unprecedented moment,” Faliks said. “We all feel that what we are doing is needed, important, wanted in this dramatic and desperate time.”
News
Corona Fridays 5th episode
This episode of my weekly Spring 2020 concerts from my home features many of the poets I have worked with over the years.
This one features a reading of work the founding poet of Music/Words – Jesse Ball.
Program is Beethoven Fantasie op 77, Corigliano Fantasia on an Ostinato and Paganini-Liszt La Campanella.
Los Angeles Times Op-Ed: “Hashtags from my Soviet childhood”
by Inna Faliks
“We now live in a realm of buzzwords, hashtags, slogans that can seduce us with the neatness of tidily packaged concepts in our desire for change. But “equality,” “revolution” and “proletariat” are rendered meaningless in environments where they are overused. We’ve entered an age of Newspeak – though, unlike in “1984,” this is not part of government indoctrination but our own doing.”
Live Music in the Times of Corona
Inna Faliks live streams piano performances from her home every Friday, PST on FB live and IG live, for the duration of the Covid-19 outbreak. Each livestream includes poetry to echo her Music/Words series, as well as new music, standard repertoire and conversation. Previous installments can be found here.
New York Classical Review
by David Wright
“Pianist Faliks worked expertly at the keys, the pedals, and inside the instrument to produce the volatile mix of roars, pings, and misty resonances in this world premiere of Johnson’s score.”
ConcertoNet.com – The Classical Music Network
by Harry Rolnick
“That wondrous virtuoso pianist Inna Faliks has commissioned music to be written for the Ukrainian-Russian cult novel–symbolic, funny, sarcastic, allegorical and damned frustrating–The Master and Margarita, some of which was played here.”
Listen to Sundays Live, Recorded Live at LACMA
Inna recently made a stop in LACMA at Sundays Live, broadcasted live on April 21, 2019 at the Leo S. Bing Theater.
“It is my 15th and last performance at Bing – before they close for rebuilding. This hall is going to be torn down, and a new one built – a smaller one.”
Click here to listen to Inna’s broadcast performance of Beethoven: Six Bagatelles, Opus 126, and Schumann: Symphonic Etudes, Opus 13.
The Future of Classical Music is Chinese
Inna’s new op-ed with the Washington Post highlights her recent concert tour and visiting professorship in China:
“But as I looked at the line of young pianists, I thought that I stood face-to-face not with the past, but with the future of classical music.
I found the passion, drive and work ethic of Chinese music students staggering. And the dedication from the audiences was evident, as every seat — regardless of the city — was always taken. Reverence for Beethoven, Chopin, Tchaikovsky and Schumann seems to have no connection to any economic or political agenda.”
Read the full article here.
Rachmaninoff, Prokofiev, Scriabin with Inna Faliks
Close Encounters With Music’s new article features a Q & A with Inna, highlighting her March 23rd performance at the Mahaiwe Performing Arts Center in Great Barrington, MA.
Q. You are often called an “adventurous” artist. What does it take to be adventurous in an age when everything has been tried and heard?
A. I think being adventurous has to be in the personality of the performer. If one is trying hard to be adventurous, the result can come out forced, inorganic. I just am who I am, I think. I know I am passionate about music, about people, about art and sharing the art and having a large well of emotions and experiences to draw from. I think that communicating the essence of the music to the audience makes the music relevant, and to me, communication is the most important part of a performance.
Read the full article here.
Culture Spot LA Reviews February Mahler Performance in Santa Monica
Culture Spot LA reviews Inna’s February 2019 performance at Jacaranda Music in Santa Monica of Mahler’s Sixth Symphony in a piano four-hands arrangement, together with pianist Daniel Schlosberg:
“…a decidedly pianistic performance, with beautifully executed trills, judicious pedaling and richly shaded textures. If not supplanting the orchestral original, Zemlinsky’s version as played by Faliks and Schlosberg was a valuable opportunity to peer beneath the symphony’s instrumental garb and hear the symphony’s fascinating inner workings…”