News
The Schumann Project is Record of the Week on the CBC!
So honored to have my album The Schumann Project, Volume 1 as “Record of the Week” on CBC’s In Concert with Paolo Pietropaolo! The program airs noon ET on Sunday, November 7th, and you can listen at the CBC website.
The CBC’s website describes Pietropaolo’s program as: “The ‘best of the best’ live classical music — that’s the heart and soul of In Concert. Gorgeous chamber works, the world’s finest orchestras, and intimate recitals featuring some of Canada’s best young musicians on the brink of stardom. You’ll hear a carefully curated blend of classical hits along with new brand new discoveries presented with passion and rare insight by Paolo Pietropaolo.”
Thank-you again, Paolo, for your kind appraisal!
For an archive of the episode’s playlist, click here.
Speaking of Travel interview
I’ve been featured and interviewed on Speaking of Travel!
You can listen to the interview here.
Gapplegate Classical-Modern Music Review
The world of music has many facets of course and if you are like me the whole everloving Pop scene seems ever more vast and mysterious. I’ve pretty much given up on trying to assimilate the new flavors of the month there. I no longer feel compelled to hear all that as it comes out. There is too much great music coming out in Classical, New Music, Jazz, Avant, “World” and Avant Rock to appreciate. And the days when I made ends meet in a “Top 40” band are long gone, for better or worse.
So today another unexpected new one by the very talented pianist Inna Faliks. It is called Reimagine: Beethoven & Ravel (Navona NV6352). It is a great example of how a poetic musicianship and the freedom to rethink typical categories can make for very enjoyable and rewarding fare.
Essentially Ms. Faliks spans three centuries of piano music by paying homage to Beethoven and Ravel in interesting ways. The program zeroes in on key compositions–Beethoven’s “Bagatelles op. 126” and Ravel’s Gaspard de la Nuit.
Ms. Faliks had an inspired idea—to commission living composers to write piano music dedicated to work out modern implications from the Bagatelles and Gaspard. The program features some nine world premieres in all. So to begin the opening sequence each Bagatelle gets Inna’s lucid reading, followed in each case by a commissioned work that draws from that Bagatelle for a special New Music utterance. Stylistically the new works cover a good deal of ground, from harmonically stretched passages to rollickingly motor minimal to anything goes lyricisms.
Each of the six op. 126 “Bagatelles” gets a worthy performance, followed in each case by a newly commissioned work that extends Beethoven to our present day world in interesting ways. And then we have three more works based on Ravel’s Gaspar. The names of the New Music composers are some quite familiar, some less so but all of the music leads to an essential impression of the place of the revered masters in the realm of the Modern.
So we gladly explore the adventurous adoption of each classical work in the imaginative hands of, respectively, Richard Golub, Tamir Hendelman, Richard Danielpour, Ian Krouse, Mark Carlson, David Lefkowitz, Paola Prestini, Timo Andres and Billy Childs.
It is an album that wears very well as you listen repeatedly. It is a beautiful showcase for Inna Faliks’ deeply rich musicality and a wonderful program that gets you to appreciate Beethoven and Ravel anew and what they contribute to our contemporary music world. Strongly recommended.
Clavier Companion/Piano Magazine Review
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 remarkable legato in lyrical passages, and a consistently warm and generous sound, even in energetic sections. By contrast, her approach to Robert’s Symphonic Etudes is just that—symphonic; she coaxes a tremendous range of color and articulation from the instrument, giving each etude a specific sound world to inhabit, from the most playful to the most furious. Especially impressive is the handling of the notorious Etude IV, in which she shapes each arpeggiation very subtly in accordance with the harmonic progression and shape of each phrase. The finale showcases the dynamic power of the instrument, and Faliks produces a massive sound while retaining its fundamental warmth, giving a true sense of joy to the end of the journey.
New Classics Review
by John Pitt
The Schumann Project, Volume 1
Clara Schumann was an outstanding pianist and composer, as well as a pioneer who had a large impact on the history of music. She was a child prodigy, learning early from her father, Friedrich Wieck, a famous German piano teacher. At the tender age of 13, Clara became one of the first pianists to perform from memory and her influence over a 61-year concert career changed the format and repertoire of the piano recital She also composed a works that include piano concertos, chamber music and choral pieces. Clara was married to and supported an even more famous composer, Robert Schumann, who she first met when she was only eight years old. Together they maintained a close relationship with Johannes Brahms (she was the first to perform publicly many works by Brahms). Ukrainian-born American pianist Inna Faliks is a passionately committed artist who has made a name for herself through poetic and commanding performances of standard piano repertoire, genre-bending interdisciplinary projects and inquisitive work with Contemporary composers. She is Professor of Piano and Head of the Piano Department at UCLA and has performed on many of the world’s great stages, with orchestras, in solo appearances and in highly regarded chamber music groups. As she says in her sleeve notes to this outstanding and thought-provoking CD, ‘Juxtaposing two large scale works by Clara Schumann (née Wieck) and Robert Schumann on a recording will certainly invite comparisons between them; however, my aim in The Schumann Project series is to simply unite, on each album, two or more works by kindred souls. How different the dynamics of this ‘power couple’ of the 19th century might be today if one were to imagine Robert and Clara as equal partners in life.’
Inna Faliks gives a warm and expressive performance of the beautiful Piano Sonata in G minor written by Clara, at the age of 22. Never performed during her lifetime, it was first published in 1991, so is not well known. Nevertheless, the sonata marked an important early step in her compositional development between her two other larger-scale works, the Piano Concerto in A minor (which Faliks performed with the Chicago Symphony when she was 15 years old) and the Piano Trio in G minor. Robert Schumann’s large-scale Symphonic Études are among his most difficult compositions to perform but Inna Faliks plays this dramatic, powerful music here with tremendous verve and sensitivity, revealing both her mastery of the piano and her deep understanding of the composer’s work. This impressive first volume in The Schumann Project is highly recommended and will leave listeners eager to discover what further insights future releases in the series may bring. ‘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.’ – Fanfare.
Textura Review
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 how different things might have been had the nineteenth-century milieu been more conducive to treating the two as artistic equals.
Rich in yearning, ebullience, passion, and grandiosity and filled with laments, marches, and waltzes—the [brooding “Theme”] offers Faliks immense interpretive freedom.
This inaugural volume promises much for whatever else Faliks has planned for the series, and collectively the two recordings testify to her consummate artistry and the enduring nature of the composers’ works.
Textura Review
by Ron Schepper
With [this solo piano release], Inna Faliks shows herself to be both extraordinary musician and inspired conceptualist.
Enhancing the impact of the recording, the six bagatelles appear alongside the compositions they inspired.
Collectively, the results are stunning, for both Faliks’ impeccable execution of the material and the sensitivity she demonstrates in her interpretations.
Faliks gives eloquent voice to the material, and her assured command of tempo and phrasing makes listening to her all the more rewarding. Reimagine succeeds on multiple levels.
Take Effect Review
by Tom Haugen
The piano genius Inna Faliks turns in an incredible interpretation of Beethoven and Ravel with Reimagine, where she brings ingenuity to classic compositions while still keeping the integrity of the originals intact. […] Faliks displays incredible flexibility.
“Variations On A Spell”[…] twinkles with a meticulous manipulation of keys as Faliks offers a dreamy, absorbing landscape.
Nine modern day composers were brought in for this effort, including Richard Danielpour, Billy Childs and Timo Andres, to name a few, and together with Faliks’ technical prowess, they offer us Classical, Romantic and contemporary pieces that breathe new life into already exceptional music.
Gramophone Review
by Guy Rickards
This album is, quite simply put, a real surprise. Not just for the fine playing of Inna Faliks or her imaginative programming, but for the quality of the nine new works that reimagine collectively the two pianistic classics at the heart of the programme.
Each [of the responses to Ravel’s Gaspard de la nuit] is a substantial, independent concert work in its own right. […] Billy Childs’s Pursuit is a ‘Scarbo’ for the 21st century, tailored to Inna Faliks’s cultured pianism. […] Impressive.