Reimagine
Inna Faliks piano
Acclaimed pianist Inna Faliks breaks new ground with REIMAGINE on Navona Records, an homage to Beethoven and Ravel which manages to do the impossible: be breathtakingly innovative while remaining respectful to the source material.
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 (incidentally, the master’s favorite) as well as Maurice Ravel’s Gaspard de la Nuit. The results are exhilarating, not least owing to Faliks’s 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.
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"Inna Faliks is a brilliant pianist whose instinctual approach to music, makes these new works relevant, and just as importantly, come to life"
"Faliks, has definitely succeeded in presenting a collection of fine compositions with conviction."
"This album is, quite simply put, a real surprise"
Track Listing & Credits
# | Title | Composer | Performer | |
---|---|---|---|---|
01 | Bagatelle (After Beethoven's Op. 126 No. 1) | Peter Golub (b.1952) | Inna Faliks, piano | 2:31 |
02 | 6 Bagatelles, Op. 126: No. 1, Andante con moto, cantabile e con piacevole | Ludwig Van Beethoven | Inna Faliks, piano | 2:39 |
03 | Bagatelle (After Beethoven's Op. 126 No. 2) | Tamir Hendelman (b.1971) | Inna Faliks, piano | 3:28 |
04 | 6 Bagatelles, Op. 126: No. 2, Allegro | Ludwig Van Beethoven | Inna Faliks, piano | 2:41 |
05 | Bagatelles: No. 1, Childhood Nightmare (After Beethoven's Op. 126 No. 3) | Richard Danielpour (b.1956) | Inna Faliks, piano | 3:47 |
06 | 6 Bagatelles, Op. 126: No. 3, Andante, cantabile ed espressivo | Ludwig Van Beethoven | Inna Faliks, piano | 2:18 |
07 | Etude No. 2a, "Ad fugam" on a Non-Octave-Replicating Mode (After Beethoven's Op. 126 No. 4) | Ian Krouse (b.1956) | Inna Faliks, piano | 5:12 |
08 | 6 Bagatelles, Op. 126: No. 4, Presto | Ludwig Van Beethoven | Inna Faliks, piano | 3:59 |
09 | Sweet Nothings (After Beethoven's Op. 126 No. 5) | Mark Carlson (b.1952) | Inna Faliks, piano | 3:54 |
10 | 6 Bagatelles, Op. 126: No. 5, Quasi allegretto | Ludwig Van Beethoven | Inna Faliks, piano | 2:26 |
11 | Bagatelle (After Beethoven's Op. 126 No. 6) | David Lefkowitz (b.1964) | Inna Faliks, piano | 4:29 |
12 | 6 Bagatelles, Op. 126: No. 6, Presto - Andante amabile e con moto | Ludwig Van Beethoven | Inna Faliks, piano | 4:46 |
13 | Variations on a Spell: I. Water Sprite (After Ravel's "Ondine, M. 55") | Paola Prestini (b.1975) | Inna Faliks, piano | 4:35 |
14 | Variations on a Spell: II. Bell Tolls - Golden Bees (After Ravel's "Ondine, M. 55") | Paola Prestini (b.1975) | Inna Faliks, piano | 6:14 |
15 | Old Ground (After Ravel's "Le gibet, M. 55") | Timo Andres (b.1985) | Inna Faliks, piano | 15:31 |
16 | Pursuit (After Ravel's "Scarbo, M. 55") | Billy Childs (b.1957) | Inna Faliks, piano | 8:10 |
Tracks 1, 3, 5, 7, 9, 11, 13, 14, 15 and 16 composed for Inna Faliks
Recorded September-November 2020 at Ostin Music Center’s Recording Studio, UCLA Herb Alpert School of Music in Los Angeles CA, and at Yamaha Artist Services in New York NY
Recording Engineer Jose Carillo (Los Angeles CA)
Midi Editing Engineer Aaron Ross (New York NY)
Audio engineer & Producer Joseph Patrych (New York NY)
Premieres supported in part by Yamaha Artist Services and UCLA Davise Fund
Piano Yamaha DCFX
Music commissioned with generous grants from UCLA Davise Fund and Yamaha Artist Services
Photo (cover) Lisa-Marie Mazzucco
General Manager of Audio & Sessions Jan Košulič
Recording Sessions Director Levi Brown
Audio Director Lucas Paquette
Executive Producer Bob Lord
Executive A&R Sam Renshaw
A&R Director Brandon MacNeil
A&R Quinton Blue
VP, Design & Marketing Brett Picknell
Art Director Ryan Harrison
Design Edward A. Fleming
Publicity Patrick Niland, Sara Warner
Artist Information
Inna Faliks
“Adventurous and passionate,” (The New Yorker) Ukrainian-born American pianist Inna Faliks has made a name for herself through her commanding performances of standard piano repertoire as well genre-bending interdisciplinary projects, and inquisitive work with contemporary composers. After her acclaimed teenage debuts at the Gilmore Festival and with the Chicago Symphony Orchestra, she has performed on many of the world’s great stages, with numerous orchestras and in solo appearances. Faliks is currently Professor of Piano and Head of Piano at UCLA. Critics praise her “courage to take risks, expressive intensity and technical perfection” (General Anzeiger, Bonn), “remarkable insight” (Audiophile Audition),“poetry and panoramic vision” (Washington Post), “riveting passion, playfulness” (Baltimore Sun), and “signature blend of lithe grace and raw power” (Lucid Culture).
Notes
In 2017, I curated a piano festival called “Dialogues” at UCLA. During this festival, students and faculty performed new works that responded to music of the past. I have been drawn to this “response” genre since premiering the complete 13 Ways of Looking at the Goldberg, responses to Bach’s Aria. This work was written for Gilbert Kalish, one of my teachers, and I am deeply grateful to him for introducing me not only to the piece but to the “response” idea. I am drawn to it because it creates a bridge between the past and the present, illuminating the canon of piano repertoire while opening the stage to bright new voices.
For the festival, I asked six composers from the UCLA faculty—Peter Golub, Tamir Hendelman, Richard Danielpour, Ian Krouse, Mark Carlson, and David Lefkowitz—to respond to 6 Bagatelles Opus 126, the last work Beethoven wrote for the piano. This group of six pieces fascinates me with its childlike wonder, wit, moodiness, charm, rhythmic energy, transcendence, and experimentation. The responses are tumultuously contrapuntal, multilayered, humorously whimsical, jazzy, sweetly sensuous, and dark. Interspersing the new Bagatelles with the original felt like the most organic way to present them in performance and in this recording. I hope that the emerging dialogue between then and now highlights the unique character of the original while forming a wholly new sonic adventure.
Wanting to enlarge the scope of the project, I turned to an iconic triptych of the piano repertoire—Ravel’s Gaspard de la Nuit (“Ondine,” “Le Gibet,” and “Scarbo”), a work that I recorded in 2008 and have frequently performed. Like the Beethoven Bagatelles, Ravel’s masterpiece is richly experimental and full of sonic contrasts and innovative effects. The original is itself a response to the poetry of Aloysius Bertrand; it was interesting to continue the chain of responses to the evocative subjects: Ondine, the sensuous water nymph, Gibet, the hypnotic, almost minimalistic gallows, and the diabolical, virtuosic imp Scarbo. It is considered one of the most pianistically challenging works in the repertoire, and I wanted responses that would be challenging and rich, as well. With the help of Yamaha Artist Services and UCLA’s Davise Fund, I turned to three composers—Paola Prestini, Timo Andres, and Billy Childs—who, I felt, would respond powerfully to the individual qualities in each of the Ravel pieces. The resulting pieces stand on their own as powerful additions to the piano repertoire. While responding to and elaborating on qualities singular to Ravel, they can be performed as individual works or a coherent suite.
I am humbled and grateful to these nine brilliant composers who have responded with such passion and dedication to these great works from the piano repertoire.
The recording was completed during the challenging time of the 2019-2020 COVID pandemic quarantine. Postponing initial sessions from March 2020, when the quarantine began, to September 2020, I went ahead to continue the project in the only physically-possible manner available to us. I recorded the music, both audio and MIDI versions, at UCLA, with the Disklavier Yamaha DCFX concert grand, while alone in the studio. Then, the MIDI files were edited over many Zoom hours, with me in LA and Aaron Ross at Yamaha Artist Services in NYC, and rerecorded in NYC with the help of my audio engineer, producer, and longtime friend Joseph Patrych. The resulting performance is a combination of MIDI and audio recordings, and many hours of cross-country Zoom calls. This complex, multi-layered response project came to be, despite the pandemic. It was deeply gratifying to musically and spiritually connect with so many, during a most lonesome and precarious time in our history. I am grateful to every person who has made this project possible.
— Inna Faliks, Feb 2021