All human beings have a life journey. Like a good story, each one has a beginning, a middle and an end.
With the rise of social media, some “biographers” choose to tell their story daily—assuming that what they just had for lunch would be of interest to their legion of “likers”.
Happily, the art of memoire has not vanished from the planet; those who craft their experiences well will find interest from many, many others they have never met.
In the particular case of pianist Inna Faliks, the more unusual route of combining music and professionally narrated text has produced a two-CD set that traces “the life thus far” from Odessa through Chicago, Toulouse, Paris and New York City.
At the centre of it all (including the album’s title) is also the longest work in the set: Chopin’s Polonaise-fantasie, OP 61. From a musical point of view, it is lovingly crafted and yields a fine balance between lift, legato and ever-sensitive harmonic shifts. Only more “ring” in the upper reaches could improve the result.
But on the dramatic level, Chopin’s essay serves as a fitting homage to Faliks’ beloved mentor, Mr. D (a.k.a. Filipino, Emilio del Rosario), who guided his student with tough love in the windy city for many years. On his death bed, he asked for the Polonaise-fantaisie from his star student; sadly, she had not yet learned it.
In between the piano interventions are Faliks’ narrative of the comings and goings in her life. They are narrated with flair by actor Rebecca Mozo, yet her professional voice doesn’t quite get underneath the skin of the “creator” (and the inevitable edits could have been much more seamless with the inclusion of ambient sound).
One of the many musical highlights was the trio of Gershwin Preludes which Faliks readily tossed off with élan, sauciness and marvellous control as required.
On the other side of the ledger was Mozart’s Fantasia in D Minor, K. 397, where an overabundance of affectation marred the flow.
To conclude—with long-time boyfriend Misha now fulfilling his promise as life partner—it fell to Harrison Birtwistle’s “Oockooing Bird” intertwined (for the first time) with Faliks’/Mozo’s reflective, thoughtful summation of “a life so far”. Without doubt, the piano trumps the voice in so many ways, underscoring what was really important and just what has been learned up till now. JWR