Santa Barbara Independent Review
by Daniel Kepl
Santa Barbara Symphony review – April 15, 2023: Beethoven Dreams
Performing Arts Review
[On Beethoven’s Piano Concerto No. 4]
Faliks has crafted a signature interpretation of the work. Her confident playing, bold and articulate, is also a puff pastry of tapered phrasing and delicate rubati. Faliks demurs discreetly at cadential points and enjoys with delight, the fun of harmonic crunches, especially the sneaky ones. Her cadenzas Saturday night, particularly at the end of the first movement, were a pleasure to hear, as the artist contemplated then dissected, the art of nuance.
Interview with Piano Street Magazine with Patrick Jovell
from coverage of Cremona Musica festival
Pianist Inna Faliks’ project “Reimagine – Nine World Premieres” includes composers’ responses to Beethoven’s late Op. 126 Bagatelles as well as Maurice Ravel’s Gaspard de la nuit. Piano Street enjoyed her performance at the Cremona Musica and got the opportunity to talk to her about her ambitions project.
At Cremona Musica’s Piano Experience last fall, one half of Ukranian-American pianist Inna Faliks’ project “Reimagine – Nine World Premieres”, was brought to an international audience. This second half called; “Reimagining Gaspard de la nuit” brought more than Faliks’ impressive rendition of original composition though. We heard three commissioned composers’ reactions on Ravel’s work through their own compositions. Aesthetically, very different in styles.
The whole project, which Faliks has performed worldwide, also includes composers’ responses to Beethoven’s late Op. 126 Bagatelles, and the whole exciting enterprise can be enjoyed on Falik’s album released for the Navona label in 2021. So, in whole, nine contemporary composers, including Richard Danielpour, Paola Prestini, Billy Childs, and Timo Andres, were commissioned to craft responses to Ludwig van Beethoven’s Bagatelles, op. 126 as well as Maurice Ravel’s Gaspard de la nuit. According to critics the results are exhilarating, not least owing to Faliks’ stunningly precise and sensitive pianistic interpretations. Inna Faliks manages to unite three centuries of musical styles and social commentary, as well as producing an album monument not only to the genius of Beethoven and Ravel, but also to the perseverance and verve of some of today’s most exciting and important composers.
Patrick Jovell: Thank you for your lovely performance of Ravel’s Gaspard de la nuit at Cremona Musica. Can you tell me the background of this whole ”re-imagining idea”?
Inna Faliks: The idea was to create a bridge between past and present. The Beethoven Bagatelles Op. 126 are forward looking, experimental, transcendent but also humorous and simple. For me, programming new music is hugely important, and a better way to present it to a larger audience is to invite them to connect to something they already know, and then listen beyond it. So I asked 6 friends, wonderful composers of jazz, film, contemporary classical music etc., to pick a bagatelle and use it as a starting point. My idea was to build this bridge between the past, present and future. I continued by asking 3 of the best known American composers – jazz star and composer Billy Childs, Timo Andres and Paola Prestini – to respond to Gaspard de la nuit, a work I recorded in 2008 on my first commercial record on MSR called Sound of Verse, and one I perform frequently. This work in itself was a response to poetry – so the project becomes almost Meta here. What I got were three significant, large new works for the piano.
PJ: The project has enabled you to work closely with a number of composers. I guess composers in general are more or less familiar with the piano. What can you tell us about these multifaceted and varied personal collaborations?
IF: Each of the collaborations was unique in character. Each of the composers is either a personal friend, colleague or somebody I have known and respected and was interested in working with.
Richard Danielpour is a very frequently programmed and performed composer, and he writes magnificently for the piano. He is my colleague at UCLA – we are close as I was premiering his Bagatelle cycle. The Bagatelle he wrote for me for Reimagine Beethoven and Ravel was actually part of this cycle – and I performed it at the Wallis in Beverly Hills, a prestigious and beautiful Los Angeles theater, alongside with Schumann’s Symphonic Etudes. We became close while I was playing these for him and I am in fact playing another premiere of his; something akin to “Kinderszenen” – this May. I look forward to playing this, and many more works of his. His writing is sensuous, dramatic, technically very effective and demanding but – as very fine piano writing often is – stays very pianistic.
Tamir Hendelman is a jazz pianist and also a good friend – responding to the 2nd Bagatelle for him was fun as it is almost like an improv that spins out. It was a give and take process, definitely – and I am very happy with the energy of this piece.
Mark Carlson’s voice is very tender, heart on the sleeve, very beautiful – and beloved, because it is so sincere. His Bagatelle has received so much responses – it has truly magical colors. So often composers are afraid to write music that is “beautiful” – this piece shows how magical that can be when it truly comes from the soul. I always felt that I can be very very free with this piece, and that’s what made him most happy.
David Lefkowitz is the head of theory at UCLA, and was actually the most demanding in terms of how the piece needs to flow. I really appreciated this – because it is very complex, and haunting.
Peter Golub’s Bagatelle is wonderful as the first piece. It’s quirky and feels to me as though the original Bagatelle is looking into the mirror and seeing something very funky, as though the mirror breaks, or the light shifts. Peter is a film composer, and has very clear moments of action and suspense in his Bagatelle, I think.
Ian Krouse’s piece is the most difficult – it’s really a huge virtuoso showpiece, with an insane fugal section that repeats differently each time, without a pattern, and a transcendent contrasting section, just as in the 4th Bagatelle. This was the hardest piece, physically – its toccata-like intensity and changing patterns require lots of work. Ian was always very gracious – and forgiving, in terms of some very prestissississimo tempi! But I like to take it fast, and the recording succeeds I think.
Now for the Ravel pieces. The most “in-person” collaboration was with my dear friend Billy Childs, because he lives in Los Angeles. That was also the most challenging one. Billy’s piece is truly brilliant, a virtuoso masterwork – and it refers to a Black man running from the police, as it was composed shortly after the George Floyd murder. It will be the first piece in a suite that Billy is writing for me, called “Freedom Suite”. There are sections in the piece that are inspired by Herbie Hancock. I would play it for Billy, and he would always tell me that I am playing those sections “too beautifully”, with a natural rubato, but he wants them as steady and direct and almost “ugly” – so that was a challenge, to find a balance. Billy’s harmonies are incredibly luscious. Ravel is his favorite composer. It’s hard not to make those harmonies sensuous! I just can’t help it sometimes.
Timo Andres’ piece has its own difficulties. It’s a huge minimalist work that grows in intensity. It may not sound like it, but it is hugely challenging because there are no patterns at all. It needs enormous restraint and stamina. Sometimes, I would be tempted to allow a climax to happen way before it needs to, to use more pedal – but it needs restraint.
Paola Prestini’s piece was very natural to play, just so colorful and so fitting to Ondine. We worked out various rhythmic details – the piece is written meticulously, even if it sounds very natural and sometimes almost improvised.
In the Ravel response cycle, each piece really can stand on its own. They are fantastic additions to the piano repertoire, and I am very proud to premiere them and to be the dedicatee for them.
PJ: Thank you for providing your personal reflections about the works of your collaborators. Such a project states the eternal qualities of art creation mirroring a process how contemporary expression is made possible through reflections and references to the past. In the old days the pianist and composer was the very same person. The modern performer though is trained to interpret only. As a university teacher, how are your thoughts on composition and improvisation for that sake, among young performers heading for a professional career?
IF: First of all, I am a performer through and through, and this is why I have a fresh outlook on teaching. I believe the two things cannot be separated.
Now about improvisation – every performance needs to have an element of improvising, of spontaneity. Imagination, honesty of musicianshiip and music making that comes from the heart are the things, in my view, that distinguish a real artist. In my view, composition and improvisation are an integral part of a musician’s world and should be experienced by every child from the start and be part of tbeir vocabulary. I started out as a composer. At 9, I composed an opera that was performed in Odesa. I had lots of piano music, cello, voice music- I studied composition seriously but then the piano took over. My many projects , I believe, are the way I express that part.
When I performed Rzewski ‘s People United, my favorite part was the long improvisation at the end… and somehow that restarted something. I am beginning to compose again.
I recently revised a few short pieces I carried with me through immigration. They will be a “Ukrainian Childrens Suite”. Also, I may be composing for a project of responses to Schoenberg’s op 11, one of my next things.
by Christopher Axworthy
Review of Polonaise Fantasy: The Story of a Pianist
JW3 in London
Inna Falik’s Love of Life – The extraordinary story of a great artist told with mastery, intelligence and beauty
Inna Faliks in London to play for the first time in the JE3 Arts centre.
Telling her story of growing up in Odessa under the Soviet regime and even playing on the red piano in the room allocated to her family.
A three room appartment allocated to seven people!
Immigration was the word used in 1988 when the family prepared to flee to a freer life in the USA.
Now head of piano at UCLA in Los Angeles she came to London to share her story with us.
Eloquent as a poet but above all an eloquence in music that is so immediate and simple as every note touched places that other musicians can rarely reach.
A first half opening with Shchedrin’s athletic Basso Ostinato. Like a tiger being let out of cage as Inna ravaged this magnificent Yamaha piano with devilish glee .A ‘coup du theatre’ indeed after which we needed the calm aristocratic sounds of Bach’s knotty twine.
Jan Freidlin’s Ballade in Black and White was composed for Inna who gave its premiere in 2011 in Carnegie Hall.It was played with a clarity and total conviction that was enthralling.
After Bach it was Mozart to calm the air now with a performance of his D minor Fantasy of great simplicity and beauty.
The ‘Maiden’s Wish’ was played with wondrous jeux perlé in the style of the pianists of another age, that of pure gold.Scintillating exuberance and aristocratic style made one wonder why this little gem has been so rarely heard in the concert hall since the grandiloquence of Arrau.
Following with the most famous of showpieces :’ La Campanella’.Paganini and Liszt in cahoots to beguile and seduce with seemingly impossible pianistic gymnastics.
Inna played it with amazing clarity and insinuating charm with a kaleidoscope of colours that made this old war horse shine as new.
Streams of gold and silver sounds were thrown off with an ease and precision that were breathtaking in their audacity.
The mighty Polonaise Fantasie, from which this moving tale takes its name, was played with aristocratic style and ravishing beauty.
There was an architectural shape of such intelligence that restored this work to the Olympian heights of beauty and originality penned at the end of Chopin’s all too short life.It gave great meaning to a work that can sometimes ,in lesser hands, appear simply fragmented and structurally weak.
Inna showed us the revolutionary originality of the form that is free but in a highly original frame where Chopin’s genius shines through every bar.
Inna had realised this as she saw in this masterpiece a road plan of her own extraordinary life.
The most moving part was to come, both in words and in music, as Inna described the reappearance of Mischa Shpigelmacher in her life.
Out of the blue an old schoolboy friend suddenly appears at her concerts. A spark is felt as she decides to turn down a sumptuous after concert supper and to flee to Paris with Mr Shpigelmacher becoming fast best friends and an obvious kindred spirit for life.
Now happily married with two teenage children Mr and Mrs Shpigelmacher are still best friends and enjoying together this moving celebration of love in London.
What better music could there be than Beethoven’s op 126 Bagatelles.
Ravishing beauty and quixotic changes of character they were played with the true mastery of someone who listens to the sounds she is creating.
A purity of sound with a fluidity where bar lines seemed not to exist .Even Beethoven’s precise pedal makings in the third were translated into the magical disintegration of the melodic line.A magic disappearing trick interpreted as Beethoven obviously intended.
It contrasted with the ferocious fourth that in turn dissolves into a bagpipe drone on which a fragmented melodic line is allowed to float as if suspended in air.
The purity of the melodic line in the fifth was a lesson in how to let the composers words speak for themselves without any personal intervention from the mere performer.
‘Je sens,je joue,je trasmets’.
The tornado that is unleashed in the sixth broke the spell but created another even more mysterious cloud of sounds where mere words have no place.
Like in the last great trilogy of Sonatas, in particular op 111, the fragments of melody were floated on a bass pedal note like puffs of smoke that Beethoven could see with the vision of the paradise that awaits.
With subtle intelligence and scholarship she could turn these baubles into gems.
Penned in the last moments of Beethoven’s life when he could find the serenity that had eluded him all his life.
Inna imbued them with the same love that she communicated so movingly in this personal story.One that has become even more poignant for the events that are unfolding with disturbing intensity in her homeland where her soul still abides.
Dedicating the performance to her family:her parents,Irene and Simon Faliks who were brave enough to leave the USSR when they did.
Her husband and best friend, then and now, Misha Shpigelmacher. Her two children,Nathaniel and Frida ,as well as to anyone who has ever left a place in search of a better life.
If music be the food of love, play on!
What a story!
Simple great music pouring from a sensitive soul as she communicates the remarkable adventure that is her life.
Fragments pieced together on a constant bass undercurrent which is love itself.
No greater story could there be than this extraordinary ‘Love of life’.
No surprise that I had first heard and met Inna here in the city of dreams :https://christopheraxworthymusiccommentary.com/2022/09/26/cremona-the-city-of-dreams-a-global-network-where-dreams-become-reality/
by Christopher Axworthy
Review of Reimagine: Beethoven & Ravel performance,
from coverage of Cremona Musica festival
I was heading to hear Inna Faliks in ‘Reimagine Ravel’ , intrigued by the title,having studied myself with Vlado Perlemuter who had been coached by the composer himself for first performances in the ’20’s. It was indeed a fascinating story she had to tell of building bridges past and present, looking to the future.
Reimagine: Beethoven & Ravel — 9 World Premieres finds Inna breaking new ground, paying a respectful homage to source material by Beethoven and Ravel. The album was released by Navona records last June .Featuring nine contemporary composers, including Richard Danielpour, Paola Prestini, Billy Childs, and Timo Andres, who were commissioned to craft responses to Ludwig van Beethoven’s Bagatelles, op. 126 (incidentally, the master’s favorite) as well as Maurice Ravel’s Gaspard de la Nuit.
The results are exhilarating, not least owing to Faliks’ stunningly precise and sensitive pianistic interpretation: the Ukrainian-born American pianist ties together Classical, Romantic and modern pieces with disarming nonchalance and rock-solid technical skill. Defying the challenge of uniting three centuries of musical styles and social commentary, as well as producing an album during a global pandemic with the help of Yamaha’s Disklavier technology, Reimagine proudly raises a monument not only to the genius of Beethoven and Ravel, but also to the perseverance and verve of some of today’s most exciting and important composers.
[A] fascinating project that saw Paola Prestini inspired by the fluidity of Ondine, the water nymph. This was followed by Timo Andres inspired by Ravel’s depiction of the gallows with a minimal piece of Philip Glass proportions incorporating a quote from Billy Holiday’s Strange Fruit with Afro Americans hanging from the branches of a Becket type tree. Billy Childs’ an Afro American jazz pianist and composer inspired by Scarbo by a black man being chased by the police. Some very fine fully committed playing from Inna Faliks and knowing the background made it a truly fascinating mirror on this very well known suite by Ravel.
It was though her stunning performance of the full original suite that won the day. A ravishing performance of Ondine and a fascinating one of Le Gibet in which her pointed bass notes gave a fluidity and luminosity to the bleak repeated bell. Scarbo too was a revelation for the clarity of detail especially in the left hand figurations and of course her scintillating fearless playing of a piece that Ravel wrote specifically to outdo Islamey for transcendental difficulty.
A fascinating performer.
by Susan Hall
Inna Faliks Returns to The Barge:
Splendid Music by Freidlin. Clara Schumann and Ravel
“A pianist of the highest order. … Faliks interprets like a conductor. … Faliks is such a consummate technician, that [Gaspard de la Nuit‘s] difficulty is never perceived. Instead we are led through pyrotechnics, always performed in service of the music.”
by Stephen Martorella
Fantaisie and Monologue in Newport
“For Faliks, music is about more than just playing it, which she does exquisitely. … Executed most beautifully, gracefully sweeping through its musical landscapes with eloquence, passion, and sensitivity. … Dazzling and scintillating performance. … Her amazing technique is matched by a deep and reverent musicality, passionate and inspiring, living up to her desire to be “more than…” … Inna Faliks is a personality who deserves to be explored and savored over a long period of time.”
by Chang Tou Liang
“Inna Faliks is a brilliant pianist whose instinctual approach to music, makes these new works relevant, and just as importantly, come to live.”
by Mark Swed
Commentary: What is Ukrainian music, and what does it say about the war?
The first week of May, I attended four concerts. All four, whether by chance or intent, had a connection with Ukraine. That was obvious the first day of May at a benefit concert for Ukraine put on by the Wende Museum and Jacaranda Music at the Robert Frost Auditorium in Culver City. And while Ukrainian American pianist Inna Faliks’ Ukraine-centric recital several days later at the Wende contained no Ukrainian music, its programmatic theme was “The Master and Margarita,” a novel by the Ukraine-born author Mikhail Bulgakov.
At her Wende recital earlier this month, Faliks premiered Veronika Krausas’ “Master & Margarita” Suite, written for the occasion. In the Russian novel, the devil visits and wreaks marvelous havoc on Soviet Moscow. In her suite of seven sly dances, Krausas, who is a Canadian American Los Angeles composer of Lithuanian heritage, lightly waltzes around and toys with fanciful passages from Bulgakov’s novel. As with Silvestrov, what isn’t there is as intriguing as what is. Each dance is a kind of fantasy, full of musical hints. Crossing borders is, and has always been, the way of music.
by Sven Godenrath
The Bagatelle by Peter Golub, played by Inna Faliks, impresses with its sparkling elegance and the subtle sparkling piano. The same applies to Bagatelle No. 1, no. 3 , no. 5 and no. 6 by Ludwig van Beethoven, the Bagatelle by Richard Danielpour, Sweet Nothings by Mark Carlsons… The Bagatelle by Tamir Hendelman is rhythmically accentuated, as is Bagatelle No. 2 and no. 4 by Ludwig van Beethoven, Etude 2a by Ian Krause, Bagatelle by Daniel Leikowitz.