Simone Dinnerstein - Bach: Goldberg Variations
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Free Music Notes for Bach: Goldberg Variations
Free Music Review: Quite Possibly The Most Compelling Recent Recording of the Bach Goldberg Variations
Hit: 5 Stars
The daughter and niece of two of our finest American painters, young Julliard-trained pianist Simone Dinnerstein has demonstrated that she, like her famous relatives, is an important artist of note in this spellbinding recording of J. S. Bach's "Goldberg Variations". Truly it is among the most compelling recordings of these pieces that I've heard, in which Dinnerstein emphasizes the cantabile qualities of these short pieces. It may also be among the most idiosyncratic, especially when one compares and contrasts her expressive style of playing, with, for example, Andras Schiff's relatively recent critically acclaimed ECM recording from a live concert performance back in 2001, in Basel, Switzerland. Dinnerstein's playing is, in many respects, far more expressive, especially in her slow interpretation of the opening Aria (Schiff's interpretation takes into account period instrument practice; consequently, his tempi tend to be far more brisk than Dinnerstein's.).
The story behind this recording is indeed a most memorable one. Dinnerstein was unable to find a label willing to support her, and decided, on her own, to have it recorded, at her expense, two years ago at the American Academy of Arts and Letters auditorium in Washington Heights, New York, NY (The Steinway grand piano she used for this recording, has a memorable story of its own, having survived intact, frequent bombings by Nazi German Luftwaffe bombers of the northeastern English town of Hull, and then, in 2002, was restored in time to be used at the re-opening of the World Trade Center's Winter Garden.). Eventually Telarc agreed to represent her and to release this recording; a recording that may be the most impressive recording debut by a classical musician this year, or rather, in any given year over the past half century. Without question, I concur with many who have already acquired this fine recording for their collections; I strongly urge those who haven't that they should, if only to hear a compelling interpretation by a young, truly gifted artist, who has a bright future awaiting her (In the interest of full disclosure, one of her cousins was a high school classmate of mine, but I would give a glowing recommendation of this recording even if I wasn't aware of her kinship with my old friend.).
Free Music Review: this is a fantastic recording
Hit: 5 Stars
i have to start by saying that i'm pretty sure this is my first amazon review ever. years of using amazon, years of reading reviews here. but this is the first time i've been moved to contribute a review. and it's not just because this is a wonderful recording (although it certainly is a wonderful recording). it's also to help any fellow shoppers here by balancing out the nonsense with some hopefully useful comments.
first of all, this is nothing like glenn gould. if you worship at the altar of glenn gould, it's very unlikely that you will enjoy this CD. if you think glenn gould's version of the goldberg variations is the "one true version" then you are missing the point and nothing in an amazon review can possibly persuade you otherwise.
but if you are open to new possibilities, if you are open to experiencing an amazing piece of music through a different lens, if you think there is no correct answer to the question "what is the most perfect way to play the goldberg variations?" you may love this CD.
the artist brings a very different reading to this music. it's piano based, rather than harpsichord music played on a piano. and to my ears, that makes it a much more enjoyable listen.
i would also just say that it is amazing and fantastic that a young woman from brooklyn recorded a version of the aria from the goldberg variations in the year 2007 that gave a 250 year old piece of music one of it's most fantastic interpretations ever. that blows my mind every time i hear it.
in short, listen to the aria, buy this CD, ignore the nonsense and posturing in these reviews. you won't regret it.
(p.s. anyone who is whining about "marketing" and "oprah" is betraying their own prejudices. i saw no marketing for this album, and was completely unaware that she appeared on oprah until i read it here. that makes no difference. the album is fantastic on it's own merits. grow up.)
Free Music Review: I'm sold! Revelatory!
Hit: 5 Stars
I'm a huge Glenn Gould fan (I love both his `55 and `81 recordings), so had a LOT of skepticism about this CD. Every few years it seems some pianist will try and tackle this Gould "property" and inevitably fall short. I think the last big hoopla was made over Murray Perahia (though I was never convinced enough to buy his CD).
But after reading reviews and listening to some samples I decided to give Dinnerstein a try. And oh wow! This CD deserves its accolades.
It gives you what every listener hopes for - a fresh, unique, and revelatory interpretation. I would not say it is better than Gould. It is simply different and great in its own way. I think one reviewer on iTunes said Dinnerstein's style was like "cream." Meaning I guess Legato. I would say that's pretty accurate.
To give one simple example, notice how the final note on Track 30 (variation 29) is sustained with some reverb and how that segues so smoothly to Track 31 (variation 30). This is not the "pointed, sharp" style of Gould. It does not mimic a harpsichord. It's like Romantic pianism.
I'm not surprised that some "Purists" are crying foul. But do yourself a favor and don't listen to them. Give this one a try. You won't go wrong! The hauntingly beautiful opening aria alone is practically worth the trip.
PS -- The only little reservation I would have is about Track 26 (Variation 25 or "Black Pearl"). Dinnerstein doesn't give it the monumental dimensions of Gould whose interpretation leaves no doubt he considered it to be the soul of the whole work. But hey, there's still much to love about Simone!
Free Music Review: I suppose that in some 5 Stars
....that this piece shall always remind me of the scene in "Silence of the Lambs" where Dr. Lechter is listening to the Glenn Gould recording of it in his jail cell just before all hell breaks loose. Of course, many consider the Gould version definitive; it is fabulous, but I contend that we will never hear definitive until we hear Bach play it Up Yonder. Bach's mind worked in ways that only God can comprehend...the music sometimes sounds simple, but... Then, there's the question of what instrument will Bach play it on. Discussions of Bach are endless, which gives rise to my own theory that God created him so that the writing of Heaven's music could be delegated to a mortal man.......Which brings us to Miss Dinnerstein, and the recording at hand. She has picked one of many possible interpretations; who can say she's wrong? [Only Bach could--see above]. She takes it slowly, and thoughtfully, giving us all the repeats, though she has plenty of energy when a particular variation calls for it. OK, that makes for a long recording. So what? This is Bach we're talking about; there are no precise rules. Having chosen a particular tack, she follows it superbly. Of course, the technical aspects of the record are perfect...Telarc.
Miss Dinnerstein is a very pretty girl, just starting her career. Beauty should be irrelevant in discussion of a classical musician, no matter how relevant it is for a pop singer, or an Indy 500 driver. Still, good looks never hurt marketing, and never will. You may not like her interpretation of the "Goldberg Variations", and that's OK. Bach represents perfection; all we mortals can do is grasp.
Free Music Review: definitve interpretation
Hit: 5 Stars
Nobody's audio library of Bach's music should be without this exquisite and skillful interpretation performed by Simone Dinnerstein on a old and restored Steinway. Her dynamics and execution are masterful and occasionally innovative, like the inversion of the arpeggio in bar 11 of the repeat of the first movement in the first aria (and also the final aria da capo at the end. The many movements that call for cross-hand execution are splendidly performed - sounding like two pianos indeed - but perhaps what strikes most of all is her interpretation of the 'black pearl' aria no. 25 in G minor. Its adagio opening and hauntingly chromatic shifts are performed with a mastery of art. Perhaps because it is the longest aria, Simone exceptionally does not observe the repeats at the end of the first and second parts: but that just tempts one to play it all over again. Bach we know is a winner: and so is Simone in this recording. Five stars without a reservation.