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.