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More from Newport Music Festival and Music in the Mountains

Here are two lovely preview articles from some of last month’s engagements!

First, a personal essay I wrote about my new recording, “Polonaise-Fantasie, Story of a Pianist,” for the Newport Music Festival:

I know that I am the artist that I am now, partially thanks to growing up in the Odessa of the past – seven people in a three-room apartment, surrounded by books, music, ideas and friends (one of whom is Misha. You will meet him in the story. He is my husband and the father of my two children).

Recording this story, and this music, is the most personal project I have ever done.

Full article here.

Second, here’s a nice article on my appearance at the Music in the Mountains Festival in Durango:

The Ukranian-born pianist has played in our festival before, so she knows the territory and the drill. If you want a sneak peek, there will be an open rehearsal from 10 a.m. to 1 p.m. Sunday at the Festival Tent. You can also see and hear Faliks play a number of different works on YouTube. Calm, elegant and self-possessed, she’s a marvelous musician whom critics have described as playing with “grace and raw power.”

Faliks has had a distinguished concert and recording career. She’s also professor of piano and head of keyboard studies at the UCLA Department of Music, which frees her to concertize at summer festivals all over the world, including ours.

Full article here.

Newport Music Festival

It was lovely to return to the Newport Music Festival for a week of intense and magical music-making. Here’s an excerpt from the Providence Journal’s review of my performance of Beethoven Opus 111.

“…it was Ukrainian-born pianist Inna Faliks who blew the other two pianists out of the water with her enthralling account of Opus 111, the last of the three sonatas and one of Beethoven’s most stunning creations, as he ends a lifetime of sonatas with a few shimmering scale passages and a hushed C Major chord.

“This amazing score was clearly in her DNA, as Faliks charged into the brooding introduction when we all thought she was adjusting the piano bench. And from there she had the audience hanging on every note.

…this was one of the most moving performance I’ve ever heard of Opus 111, a work whose stormy opening gives way to a great hymn to humanity.”

(Newport Music Festival), July 2017

Polonaise-fantasie: The Story of a Pianist

polonaise-fantasie coverI am thrilled to share news of the upcoming July 7 release of the most personal recording project I have ever done: Polonaise-fantasie: The Story of a Pianist. This recording is a hybrid of a piano recital and  an autobiographical monologue. It is my hope that, in sharing this story, I offer audiences a glimpse into a life of a performing musician, as well as into my very personal story – the story that makes me the artist I am today.

Five years ago, when I was pregnant with my son Nathaniel, I started writing down vivid memories of my childhood in Odessa, the former Soviet Union, and of immigration to the US.  Gradually, these started to take the shape of a book about a life in music.  At that time, I wvas living in NYC, performing, and curating my series, Music/Words, where poets read between musical performances.  Poetry inspired me for as long as I can remember, and influenced my first CD  (Sound of Verse, MSR Classics.)  I hadn’t written in years.  It was profoundly satisfying to be writing once again.

A few years later, after I had moved to Los Angeles to head the piano department at UCLA, the chapters of the book found their way into the hands of one Cynthia Comsky, an incredible producer and magnificent lady. She insisted that I use them to create a recital-monologue. Many memories described in the book had musical pieces inexorably connected to them. I chose pieces that had been with me since childhood, as well as those that found their way into my repertoire, along my path, to connect and illuminate the narrative. The format, play-read-play-read, echoes the format of my Music/Words programs, where the poems and the music create an arch that is, hopefully, emotionally resonant.  Cameron Watson, a brilliant director, directed me and wonderful actress Rebecca Mozo, in a performance of the work at the Ebell of Los Angeles, in 2015, just a few months after my daughter Frida was born.

I know that I am the artist that I am partially thanks to growing up in the Odessa of the past – seven people in a three-room apartment, surrounded by books, music, ideas and friends (one of whom is Misha. You will meet him in the story. He is my husband and the father of my two children).

Recording this story, and this music, is the most personal project I have ever done.

I dedicate the recording to my family: my parents, Irene and Simon Faliks, who were brave enough to leave when they did. My husband and best friend, then and now, Misha Shpigelmacher. My two children, Nathaniel and Frida Shpigelmacher, as well as to anyone who has ever left a place in search of a better life.


Rodion Shchedrin: Basso Ostinato

J.S. Bach: Prelude and Fugue in G-sharp Minor, The Well-Tempered Clavier, Book

Jan Freidlin: Ballade in Black and White

W.A. Mozart: Fantasia in D Minor, K 397

Chopin-Liszt: The Maiden’s Wish

Paganini-Liszt: La Campanella

Frédéric Chopin: Polonaise-fantaisie, Op. 61

George Gershwin: Prelude 1 in B- at Major

Gershwin: Prelude 2 in C-sharp Minor

Gershwin: Prelude 3 in E- at Minor

Elliot Carter: Retrouvailles

P. I. Tchaikovsky: Nocturne in C-sharp Minor

Harrison Birtwistle: Oockooing Bird


Spring News

Dear Friends,

Happy Spring!

It is with boundless excitement that I share with you the flurry of upcoming premieres and performances this spring, and look forward to a thrilling summer. Join me for concerts in Chicago, New Haven, NYC, Los Angeles, Music/Words with the Poetry Foundation, as well as the brand new Dialogues Festival at UCLA, featuring at least 20 world premieres.

These lead into great summer appearances—my return to Newport Festival, concerto with the wonderful orchestra at Music in the Mountains Festival, and my Ravinia Festival debut, which heralds an exciting 17-18 season.

degas dancers
Inna Faliks performing Music/Words at the Getty, in celebration of Degas’s Russian Dancers

April 7—Chicago, IL
12pm: WFMT Live Broadcast @ Pianoforte Chicago
6pm: Recital @ Pianoforte Chicago

April 9—New Haven, CT
3 pm: Recital @ Lyric Hall (Impromptu Classical Series)

*World Premieres by Drozdoff, plus music of Schubert, Freidlin, Takemitsu

April 11—New York, NY
7:30pm: Recital @ Hunter College, Ida Lang Hall (Impromptu Classical Series)

April 12—New York, NY
6:00pm: Recital @ Yamaha Artist Services (6@6 Series)

May 2—Los Angeles, CA
7:30pm: Inna Faliks & Friends at UCLA @ Schoenberg Hall, UCLA

*Solo and chamber music, including Shostakovich Quintet with faculty and alumni. If you missed this in March, here is your chance to hear it again!

May 27—Chicago, IL
7:00pm, Music/Words @ The Poetry Foundation

May 29—Chicago, IL
8:00pm: Live Recital Series on WFMT Chicago Classical Radio

June 1,2,3—Los Angeles, CA
7:30 pm: Dialogues Festival at UCLA @ Ostin Recording Studio

*I am thrilled to put together this festival, where at least sixteen world premieres will be unveiled! Celebrating the link between past and present, this festival explores new music composed in response to Beethoven, Ravel, Schumann, by composers such as Richard Danielpour, Timo Andres, Tamir Hendelman, Ian Krouse, Paola Prestini, and more. The Dialogues Festival also juxtaposes works by Richard Danielpour and Chopin, and presents new compositions by UCLA student composers in response to Bach’s Aria from the Goldberg Variations. Featuring: Inna Faliks (piano), David Kaplan (piano), UCLA piano students, and UCLA composition students.

I look forward to seeing you and hearing from you this spring!.

warmest regards,

Winter Newsletter


Dear Friends,

Happy 2017!

The year is off to a galloping start, after the whirlwind of fall and early winter.

I returned from a tour of China’s major halls, all architectural and acoustic masterpieces, including the Beijing Center for Performing Arts, the Shanghai Oriental Arts Theater, Tianjin Grand Theater, and more (pictures below)!

I enjoyed my debut with the fantastic group Camerata Pacifica, a collaboration with Bodytraffic modern dance (described as “electrifying and energizing” by the LA Times), and right after that, a very moving experience: playing Beethoven 3rd Concerto on my home turf, with UCLA Philharmonia and Neal Stulberg. You can see the video here.

For another chance to hear this piece, come to the February 19th concert with Peninsula Symphony, and Gary Berkson, details below.

Immediately after the New Year, I completed my forthcoming 2-disc set for Delos, “Polonaise Fantasie, Story of a Pianist”, a monologue-recital of my essays, read by actress-par-excellence Rebecca Mozo, with music ranging from Bach to Chopin to Carter to Birtwistle. Look out for a 2017 release!

Here a some upcoming winter dates to share with you—please come to these if you can, and keep in touch!

January 29
Inna plays Wanderer
LACMA, Sundays Live, 6 pm – recital and livestream.

February 19th
Beethoven 3rd, Peninsula Symphony
Gary Berkson, conductor

March 4th
Music/Words at the Getty, in celebration of Degas’s Russian Dancers

March 19th
Dilijan Series (Lark Music Society), Zipper Hall
Schostakovich Trio and Quintet
Some of my most beloved chamber music works, with my esteemed colleagues Movses Pogossian, Antonio Lysy, and others.
More information here

May this year be filled with hope, beauty and music for you all.



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Re-imagine: Ravel and Beethoven

Reimagine Ravel and Beethoven-1

This recital features a dialogue between today’s hottest composers and music of Ravel and Beethoven. Paola Prestini, Timo Andres, Billy Child respond individually to each of the pieces in Ravel’s Gaspard de la Nuit. Additionally, 6 UCLA composers, including Richard Danielpour, Tamir Hendelman, Peter Golub, Mark Carlson, David Lefkowitz and Ian Krouse, create responses to Beethoven’s mystical Bagatelles opus 126. Subsenquently, the program alternates between the Ravel, Beethoven, and responses to them by today’s most resonant composers.

Two Breathtaking Concerts in North Carolina

Check out these rave reviews from Inna’s concert and recital at the University of North Carolina earlier this month:

“Inna Faliks’ performance was anything but routine. She had more than enough upper body strength to hold her own against the composer’s full, plush orchestration. The highlight of her performance was the wonderful intimate chamber music quality her performance of the nocturne-like second movement with its dialogue between keyboard and woodwinds. There was no want of bravura in the finale.”

CVNC, May 2016

“Faliks kept listeners in open mouth wonder with her seemingly magical keyboard wizardry. From my seat I could not see the abundance of crossed hands listeners were commenting about as they left after her repeated curtain calls. Her palette of refined color, dynamics, and tone were breathtaking.”

CVNC, May 2016

Inna Faliks Elevates Classical Piano With Prose

Check out 27east‘s new profile of Inna Faliks and Music/Words:

A classical pianist’s work is often very lonely, Inna Faliks says. It is not nearly as social as string orchestras, or even quartets, nor as open to variation without wearing the label of “avant-garde” for an audience that is succinctly niche.

Yet when the Ukrainian-born musician began melding her art with spoken word by both well-known and up-and-coming poets, she created her own form of expression that is not only original but also approachable.

Ms. Faliks calls it “Music/Words”—and she is the “Speaking Pianist,” as well as a professor and a mother.

“I don’t think so much about tradition anymore. I think of myself as a powerful pianist,” explains Ms. Faliks, who will return to the Parrish Art Museum in Water Mill on Friday to play a concert, as part of the Salon Series. “I don’t have any borders. There is nothing that I look at and say, ‘That’s too difficult.’”

Read the full article here!

Rave reviews for Inna’s recent concerts in Chicago and Tel Aviv

“Sometimes a concert is so graceful and so unusual that it must be mentioned. … [Faliks] handled everything deftly, displaying speed and her formidable technique throughout.”

– Chicago Sun-Times, read the full review here

“Simply exquisite, with many expressive and colorful phrases played by the pianist Inna Faliks… Beethoven Fantasie is worth knowing and was also performed very well by Faliks”

-Hagai Hitron, Haaretz, review of the Arensky Piano Quintet and Beethoven Fantasie. Tel Aviv Museum, May 2014

Great review of Inna’s Sacile, Italy performance

From Il Gazzetino Pordenone

Inna Faliks; A Pianist of Power and Feeling
Fazioli Concert Hall Series, Sacile, Italy, March 19, 2014

by Clelia Delponte

SACILE – A fierce performance; energetic, determined, and perfect for expressing the interior agitation of the Basso Ostinato by Rodion Schredrin, considered the successor of Shostakovich. This was the opening piece of the recent concert at the Fazioli Concert Hall. Inna Faliks takes command of the instrument, molding it in her unique, personal style that clearly has its origins in the Russian school and is fully capable of interpreting the Polonaise op. 89 (Composed during the Congress of Vienna, loved by the rulers of the period, and dedicated to Elizabeth of Russia) in a way that totally annihilates any accusation of frivolousness, revealing a new Beethoven.

The solidity of her technique and her sense of dynamics also exalt the tragedy and intensity of the “Appassionata”, so rich with its silences and arpeggios, forti, fortissimi, until she arrives at the final apotheosis. And then a seldom heard piece composed for Faliks by Lev ljova Zurbin, Sirota: two contrasting melodic ideas accompanying a historic recording, as was done in the post-war years by the avantgarde. In this case, it is a religious Jewish song, sung by the Polish singer Sirota for the Jewish New Year of 1908; a minimalist piece that Faliks imbues with interpretive intensity, making even more heart-rending the evocation of a lost time.

The pianist also moves securely through all of the varied colours of the Davidsbundlertanze, composed by Schumann, at a time when he was battling against the “bad taste and bad faith” of critics who had exalted opinions of Italian opera. Written under the alternating pseudonyms of Florestano and Eusebio, the piece was performed by Faliks with emphasis of harmonic adventure, and rich with dynamics and fantasy.

As an encore, she performed an explosive Campanella by Paganini-Liszt, and followed that with Tchaikovski’s “Barcarola”. Executed with a lulling and even timing, it showed the most delicate and moving tones.