Pianist Simone Dinnerstein makes her Telarc debut with Bach’s Goldberg Variations, which she recorded in March 2005 with GRAMMY Award winning producer Adam Abeshouse.
The New York Times trumpeted Dinnerstein’s Carnegie Hall recital debut performance of the Goldberg Variations as “a thoughtfully conceived, thoroughly modern performance that seemed to take into account the development of Western art music since Bach … there was something in the slight pauses she took between repeated sections, or between halves of variations, and something in her pacing of the set as a whole, that so completely evoked the image of a journey that Schubert’s Winterreise kept coming to mind.”
Dinnerstein describes her approach to this music as a current interpretation of a timeless work. “Bach’s Goldberg Variations is a piece with a profound sense of structure and organization, and yet the listener never experiences these elements as constraints,” she says. “It is as expressive as it is diverse. Each variation explores a distinctive mood, a particular sound world, and a unique shade of character and emotion,” she continued. “We live in a world that is unimaginably different from Bach’s, but this piece speaks to us as powerfully as though it was written for our time.”
In November 2005, she performed the complete Goldberg Variations on a self-produced Carnegie Hall recital debut. This bold move, coupled with the increasing interest in her unreleased recording of the piece, won her critical acclaim in the press.
Dinnerstein’s Goldberg Variations was recorded in the neoclassic auditorium of the Academy of Arts and Letters in New York in March 2005. The piano she plays, a 1903 Hamburg Steinway model D concert grand, was originally owned by the town council of Hull, in Northeast England. During World War II, Hull was extensively bombed and the town hall in which the piano was housed was severely damaged. The piano, however, survived intact and was used in a series of concerts after the war to restore Hull’s spirit. In 2002, it was restored by Klavierhaus in New York City, in time to be used at the re-opening of the World Trade Center’s Winter Garden, playing the same role as it had in Hull over fifty years earlier.