Simone Dinnerstein - Bach: Goldberg Variations
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Free Music Notes for Bach: Goldberg Variations
Free Music Review: A very individual interpretation
Hit: 4 Stars
Before the release of this CD, Simone Dinnerstein commented in an interview that she knows this recording will be controversial - where some will love it and others hate it (to quote directly). Judging by both music press and listener reviews, she seemed to have predicted that right.
Ms. Dinnerstein's approach here admittedly is deeply personal: "The way I play it is close to my own personality. It's more inward-looking and meditative, and rhythmically free. I will even change the tempo slightly within the same variation. I think of these pieces as shapes of notes, and I don't feel that they all need to have the same rhythmic feeling."
Indeed, Simone Dinnerstein's readings here have a stronger individual interpretation and more 'poetic license' compared to our many classic recordings. You sense she deeply feels the music and shapes her lines from that centre. Her tempos in slow variations - particularly in the Aria - are notably slower.
This ease seems to resonate with certain movements - the stateliness of the regal 12th variation, the sublimity of the 13th and especially in the lofty 28th variation which exudes a rather unique, angelic-like revelation in her hands (hear track 29). Yet, others can loose their forward progression and droop with such slower tempos (2nd, 3rd, 22nd variations). Whether you savor her lingering - or feel them plod - is largely preference.
In regard to technique, this pianist rises to the occassion to dispatch the rapid, hand-crossing 2nd & 5th variations, the knotty, tripping toccata rythyms in 20th variation - although an element of struggle is sensed at times in the latter. Yet, her hesitant rubato in the 19th variation doesn't quite find the inherent lilting dance rythyms that other Bach pianists like Perahia or Hewitt can more charmingly express.
It seems Dinnerstein's popularity with the general (often non-classical) public is due in part to the very approachable way she presents these legendary pieces - and I suppose her approachability as an artist launching a career without a major label (and raising kids while pursuing her career - although not like that's a first though). To someone who has never heard Bach, her songful performances here can have an immediate appeal. But, for the same reason, they might not resonate as well with those well-familar with historic Bach masters like Landowski, Nikoleva, Gould, Perahia, Schiff, Hewitt the others.
Ms. Dinnerstein obviously has talent and it will be interesting to see the direction her career takes. Also recorded in 2005, her Beethoven Cello Sonata CD with Zuill Bailey shows almost the polar-opposite of her approach to Bach - having real firepower and drama in a very compelling performance.
But, to be sure, her take on this Bach masterwork is fairly individualistic with many softened edges - which for some may not quite reveal Bach's treasures as profoundly as artists before her. Still, I found much in this recording to truly admire and enjoy if I purposely stopped comparing it to others. The sound quality is excellent. Compositions - 5 stars; Performance - 4 stars; Sound quality - 4.5 stars.
Free Music Review: Good version of the Goldberg Variations
Hit: 4 Stars
Simone Dinnerstein, a former student of the great Peter Serkin, actually produced this recording herself. Given the very different responses to this recording, I had better make certain things clear at the outset. I am not a pianist. I am not trained in music. I have never listened to Glenn Gould's or Wanda Landowska's versions of the Goldberg Variations. I am listening to this as a musical amateur, trying to get a sense of Dinnerstein's performance. That said, this is a satisfying recording to me.
Some reactions to various of the works on this CD (there is an aria and 30 variations). The aria seems to be played well and cleanly. There is a melancholy air to this piece. The is an affecting although not necessarily a scintillating version; it is thoughtful and played at a sober pace.
Variation # 1: Dinnerstein plays this energetically, playing well off of the aria, providing considerable contrast in dynamics. This is a crisper piece, standing in nice distinction to the aria.
Variation # 2: This is more reflective than # 1. There is a contemplative mood suffusing this variation. It seems nicely musical to me.
Variation # 5: Up tempo! Quite a change of pace from Variation # 4. To use a term that I'm sure I should not, this is a "toe tapper." It is played in animated fashion; I enjoyed this variation greatly.
Variation # 16: This starts boldly with a lot of volume. But it is musical at that. There is a nice change in dynamics in comparison with Variation # 15, which is almost elegiac..
Then, Variation # 25, called, as I understand it, "The Black Pearl." This is a more thoughtful, reflective piece. To my ears, it is played affectingly. I cannot compare this with other versions, since this is the first time that I have listened to this variation, but on its own terms it is quite enjoyable. There is a lugubrious tonality to this piece.
Variation # 30: Light and reflective. There is no melancholy here!
30 variations on a theme is rather exotic music for me to evaluate. I do not pretend to be an expert. Nonetheless, for me as a listener, this version by Dinnerstein works pretty well. I can't say that I would rate this as a great version, but it is certainly pretty solid from my perspective.
Free Music Review: Loving and inspired by turn
Hit: 4 Stars
Simone Dinnerstein, a Julliard graduate that studied with Peter Serkin, has been hailed widely for outstanding techinque, warmth and fluidity in her playing. She was subject of a Harris Goldsmith feature in American Record Guide and has been compared to a young Argerich. She plays widely around New York and elsewhere on the East Coast and scheduled her London debut this year.
Her Goldberg variations are beautifully done and exceptionally thoughtful, there is no question about that. She plays with authority and technique second to none. Eschewing the staccato affect of Glenn Gould, her style is far more akin to Murray Perhaih and others that seek more transluscent legato.
This is not to say she cannot pound the keyboard or turn a phrase with the best of them -- listen to Variation 16 for that. Compared to the last recording of the Goldbergs I heard, by Perhaia, hers is warmer, more humane and perhaps less driven. But she is not afraid to change course in mid-stream -- listen to her abrupt tempo change in Variation 19 and the hop to return to rapidity in Variation 20.
Certainly this is outstanding pianism captured in an elegant sound field and presented for the listener is a 5 X 5 X 5 setting that is up to current DDD standards. I'd like to hear more of the train of thought or stream of consciousness cerebral approach I've heard in Bach from Richter and Elena Kuschnerova but I wouldn't suggest this is a bad performance lacking those qualities. For me, it's not the pinnacle; still, it's a beautifully retouched scan of Bach's masterpiece delivered on a 1903 instrument that sounds like it was made yesterday.
Free Music Review: Thoughtful and Committed
Hit: 4 Stars
Simone Dinnerstein is a young pianist who has released for her initial commercial recording one of the touchstones of the pianistic canon. Upon first listening to this recording, I was immediately struck by the gentleness of her playing, particularly in the opening Aria. I simply have never heard this music played so "femininely."
At first I was hesitant to utter, much less put in writing, such an opinion. I don't want to be dismissed as a male chauvinist. Still, after listening to this recording many times, I do find that it does seem to exude something of a feminine aura--but that is not a bad thing by any means. The music is presented somewhat smoothly and lyrically; however, that does not mean that the performance is without dynamics and vitality. There is great beauty in Dinnerstein's rendition, which I have found myself returning to often over the past couple of months. The Goldberg Variations is one of those musical compositions that truly seem eternal, something that has existed since the beginning of time and will endure forever. Dinnerstein captures something of that eternal essence in her thoughtful and committed performance.
Although in the final analysis I still prefer Gould's more energetic touch, I enjoy Dinnerstein's version, which is quite compelling, and I plan to keep it in my collection. If you are a fan of the Goldbergs on piano, this really is a CD that you ought to audition.
Free Music Review: Lovely performance, disappointing recording
Hit: 4 Stars
To me, the performance is lovely. It feels perfect, deliberate, detailed, very expressive, captivating and addictive when you listen to it. Given the complexity of this piece, I believe this performance DOES diserve the praise it got. The bad part is the disappointing recording, especially for a Telarc disk. Mr. Adam Abeshouse, the recording and mastering engineer, needs to either take a good look at his equipment or rethink his technique. I hear all sorts of overloads (distortion) at the beginning of notes and chords, indicative of soft clipping. I have noticed this through headphones and near-field studio monitors through different systems, so it's definitely there. Piano is hard to record because the peaks in the sound are huge when a note or chord is first hit. But with today's equipment giving you all the headroom in the world, there is no excuse for this type of dirty-piano sound. This is not rock-and-roll; or maybe Abeshouse was aiming for a 1960's sound, reminiscent of when equipment could not handle the dynamics of classical music. This performance certainly deserves a better, quality recording. What a shame!
In the end, the music and performance are so great you can quickly overlook the unnecessary noise (most of the time - makes you mad at times). So I would definitely recommend this disc to any Bach lover. Standing ovation for Ms. Dinnerstein.