Kristina Marinova, Loves Me Not Review

Transcending Time with Beauty: A Haunting Emotional Voyage through Kristina Marinova’s Loves Me Not

Kristina Marinova, a virtuoso pianist known for her energetic and vibrant performances, gracefully navigates the rich timbres and colors of the piano tradition. In addition to her accomplishments as a concert pianist, Marinova’s multifaceted career includes roles as an educator, lecturer, music director, conductor, vocal coach, and President of the World Piano Teachers Association (WPTA) Collaborative Piano. Born in Bulgaria, she has been awarded numerous prestigious prizes and fellowships, and her performances have taken her to major stages in Europe and the United States. Currently, Marinova is engaged with several exciting projects, including a new concert series in New York, CD productions, and a music festival. With a rich educational background and experience working with renowned musicians, Marinova brings a depth of knowledge and sensitivity to her performances.

Marinova’s most recent album, Loves Me Not, is a curated selection of emotional classical pieces spanning three centuries that offer therapeutic benefits and emotional deliverance to the listener. Some pieces are sparked by biographical calamity, but all are united by their melancholic themes and stirring harmonies. Marinova’s interpretation of these works draws on her belief in the therapeutic benefits of somber music. The album, released on June 23, 2023, is filled with nuanced interpretations of the emotional melodies of Bach, Rachmaninoff, Gluck, Schubert, Chopin, Liszt, Debussy, Scriabin, Tarrega, and Satie.

Recorded on October 14 and 22, 2022, at Oktaven Audio LLC in Mount Vernon, NY, the album features the resonant sound of a Hamburg Steinway D, expertly captured by Recording Session Engineer Ryan Streber. Executive Producer Bob Lord ensured the vision and integrity of the project were maintained, and the album is on the Navona Records label.

Marinova’s belief in the therapeutic benefits of melancholic music is especially apparent in her performance of Chopin’s “Prelude in E minor, Op. 28 No. 4.” She holds the first solitary note a tad longer than most, building anticipation for the beautiful descending melody. Her left-hand plays the voicings in a connected and singing manner, a technique deceptively challenging. The minor tonality and chromatic voice leading in the left hand bring an emotional expressiveness to the piece, which Marinova channels into a calm mood. Her performance is steady, only taking liberties with the pulse at critical moments to add a sense of drama, reflection, and interest. A dramatic moment of silence prepares the cadence, building the tension before the release.

In Erik Satie’s “Gymnopédies,” Marinova reveals the piece’s inherent beauty and haunting nature, evoking a sense of reflection and introspection. Her pulse for the waltz time is calm and steady, and her phrasing of the melody focuses on its evocative, melancholic, and intentionally simple sonorities. She shapes each phrase as an inhale and exhale, producing a meditative and contemplative environment for the listener. Marinova’s touch on the piano brings the emotion of “slowly with pain/grief,” as indicated by Satie in the score, to life. Her attention to the pedaling, a crucial component of the Gymnopédies, adds depth and resonance to the harmonic structures.

Loves Me Not demonstrates Marinova’s ability to interpret a wide range of works with deep emotional insight, making it a compelling addition to the libraries of classical music lovers and those interested in the therapeutic potential of music. Represents Marinova’s ongoing commitment to exploring the emotional depths of classical music and its ability to heal and inspire; Loves Me Not is a collection of performances that shows her sensitivity and depth and that she can bring new insight and meaning to well-known works. Marinova’s commitment, technical expertise, and deep understanding of the repertoire make Loves Me Not a gem in the world of classical piano music.