“…in a brilliant stroke for both performers and audience, Faliks… had [Ellen] Bass reading between movements of the huge Brahms (1833-97) “Sonata No. 2 in F Sharp Minor,” written and played by the composer in 1853 when he was “only” 20 and full of storm and stress along with tenderness. In the often fiendishly difficult and architecturally perfect four-movement work, played straight through and received with tumultuous applause, the noble work was the best-performed these ears have heard on this mighty Yamaha since Yevgeny Sudbin in a big Scriabin sonata almost two years ago. The Brahms began with a huge attack blaring forth the “allegro, not too fast but with energy.” The “andante with expression” was a stroll with purpose, a meditation that becomes intense and moody, alternating playfulness with severity, then lushness – typical of Brahms, and with Faliks sitting, as usual, with her face right over the keys, as expressive as the notes she was playing. The moving Scherzo was hardly a musical “joke,” but a brief lead up to the “Finale,” played with a gripping intensity, blazing keys played flat-fingered for speed like Horowitz, then a maternal tenderness like the famous Brahms “Lullaby,” coherent in all its many moods, and ending with a big bang. All gave a standing ovation.”

—Richard Lynde, Peninsula Reviews
Music/Words at Distinguished Artists Series, Santa Cruz, February 2015

“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, May 8, 2014


“This enterprising young pianist puts together concerts that blend music and words. Her next performance at the downtown music venue finds her collaborating with the baritone David Adam Moore and the poet-narrator Sandra Beasley in the world première of John Eaton’s “Songs of Nature and Beyond” (settings of Auden, Blackmur, Stevens, and Yeats). The program also features John Corigliano’s “Fantasia on an Ostinato” and Beethoven’s valedictory Sonata in C Minor, Op. 111.”

The New Yorker, September 24, 2012


One of the most passionate pianists of today, Faliks opens the new season of her interdisciplinary live performance series, Music/Words, with the world premiere of John Eaton’s song cycle Songs of Nature and Beyond, featuring baritone David Adam Moore. Faliks shows off her chops with a bit of Beethoven, followed by John Corigliano’s Fantasia on an Ostinato.”

Time Out New York, September 6, 2012


Faliks was a glowing presence on the LPR Yamaha Grand (whose lid had a perfect reflection of the piano harp strings from my vantage point) and gave beautiful attack on the John Corigliano piece Fantasia On an Ostinato. The premiere of Eaton’s Songs of Nature…and Beyond had guest vocalist David Adam Moore and Inna performing much of the way from inside the piano–Inna had used a shot glass and a towel placed on the strings and Moore sang into the piano mike on a few lines (He even bumped his head on the lid during one of the sections, but seemed to be okay and laughed it off). The piece itself is a considerably melodic work given that the experimental nature of the performance keeps it in an edgier playing field. Moore’s booming voice had a magnificent range and clarity, and his delivery of the text (two of the selected poems are from WB Yeats and Wallace Stevens) was effectively executed.

Faliks’ reading of Beethoven’s Sonata #32 in c minor, Op. 111 was the finale of this concert–Played beautifully, and the piece has such a stunning presence in any concert setting with its almost swing-like Arietta, and that seemingly endless trill. Faliks indeed made the right call to switch the encore to the start of the program in order for the coda of the sonata to resonate gently into the night.”

-Chris McGovern, THE GLASS, September 28, 2012


“Virtuoso pianist Inna Faliks’ latest installment of her innovative Music/Words series last night was a throwback to the Paris salons of the late 1800s, in the aptly lowlit atmosphere of the back room at the Gershwin Hotel. As she describes it, the concept of the series is to match music with poetry that shares a mood or evokes similar emotions, rather than referring to specific ideas or events. As an attempt to link two worlds that otherwise don’t usually intersect, it’s an admirable idea. Musically, this program was extremely diverse, spanning from classical to late Romantic, with Faliks pulling one of the obscurities she’s so fond of out of the woodwork as well. Lyrically, it was surreal, impactful, and relevant…Faliks was…the star of this show, playing with her signature blend of lithe grace and raw power, particularly as she made her way through the nocturnal scenes of Liszt’s Harmonies du Soir, and then the composer’s transcription of Paganini’s La Campanella, which she imbued with playful charm and then maintained it all the way through the dance’s knotty, rapidfire thicket of staccato. Her obscurity du jour turned out to be 20th century Russian composer Rodion Shchedrin’s Basso Ostinato, a fascinatingly biting, expansively acidic prelude that built from a walking bassline to echoes of Alban Berg and Vincent Persichetti. Faliks’ next program in the Music/Words series, on April 22 at 7:30 PM at the Cornelia Street Cafe with Brazilian pianist Clarice Assad and poet Irina Mashinski promises to be equally intriguing.”

Lucid Culture blog, February 2012


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