There is a lot of thought that goes into a Simone Dinnerstein concert.
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Simone Dinnerstein became a classical music sensation with her version of Bach's “Goldberg Variations.”
Simone Dinnerstein became a classical music sensation with her version of Bach's “Goldberg Variations.”
While the people who attend are watching the world-renowned pianist perform a collection of pieces, Dinnerstein said she organizes her concerts as single works of music with different chapters.
The pieces relate to one another, giving each one a unique feel and meaning than it would have if positioned around different music.
“You're making your own play with different acts in it,” Dinnerstein said this week during a phone interview. “They have to relate to each other. There has to be some kind of thread.”
Dinnerstein will perform Sunday at Westminster Presbyterian Church in Auburn. The concert is part of a series funded by the Adams Foundation, which strives to bring quality musicians to small cities and venues.
Not surprisingly, there's a logic behind Sunday's concert program, which include solo piano works by Anton Webern, Robert Schumann, Franz Schubert and Johann Sebastian Bach. Dinnerstein will play the pieces chronologically backwards, which she said gives the show a unique shape that would not be the same were the works placed in a different order.
For instance, she said she particularly likes how Webern's “Variations” - a minimal, paired-down piece - leads into Schumann's Kreisleriana, which she described as an outburst of sound.
“I find it very interesting how placing the same piece of music in a different part of a program can completely change the sound of that piece,” she said.
A Brooklyn resident, Dinnerstein burst into the national classical music spotlight in 2007. That was the year she released her recording of Bach's iconic “Goldberg Variations,” a self-funded recording that reached the top of the classical charts.
Praised for her unique interpretations of classic works and an expressive style, the 36-year-old almost immediately went from performing at community centers and prisons to performing arts venues all over the world.
This month alone, she will make stops in San Diego, Calif., London, Rome and Portugal.
Dinnerstein most recently released a live recording from Berlin, on which she plays Bach's “French Suite No. 5 in G Major.” She will also play that piece at Sunday's concert.
Dinnerstein said playing at so many different types of venues has given her a “good perspective” on performing. While a location's piano and acoustics have the most obvious affect on a concert for her, she also said she enjoys performing in places where she knows the audience values the fact that there is a classical concert taking place.
Sometimes in major venues, there can be the possibility of audience members taking such a thing for granted, she said.
“Some of the nicest experiences I've had have actually been at very unconventional places,” Dinnerstein said.
Christopher Caskey
253-5311 ext. 282
christopher.caskey@lee.net
The pieces relate to one another, giving each one a unique feel and meaning than it would have if positioned around different music.
“You're making your own play with different acts in it,” Dinnerstein said this week during a phone interview. “They have to relate to each other. There has to be some kind of thread.”
Dinnerstein will perform Sunday at Westminster Presbyterian Church in Auburn. The concert is part of a series funded by the Adams Foundation, which strives to bring quality musicians to small cities and venues.
Not surprisingly, there's a logic behind Sunday's concert program, which include solo piano works by Anton Webern, Robert Schumann, Franz Schubert and Johann Sebastian Bach. Dinnerstein will play the pieces chronologically backwards, which she said gives the show a unique shape that would not be the same were the works placed in a different order.
For instance, she said she particularly likes how Webern's “Variations” - a minimal, paired-down piece - leads into Schumann's Kreisleriana, which she described as an outburst of sound.
“I find it very interesting how placing the same piece of music in a different part of a program can completely change the sound of that piece,” she said.
A Brooklyn resident, Dinnerstein burst into the national classical music spotlight in 2007. That was the year she released her recording of Bach's iconic “Goldberg Variations,” a self-funded recording that reached the top of the classical charts.
Praised for her unique interpretations of classic works and an expressive style, the 36-year-old almost immediately went from performing at community centers and prisons to performing arts venues all over the world.
This month alone, she will make stops in San Diego, Calif., London, Rome and Portugal.
Dinnerstein most recently released a live recording from Berlin, on which she plays Bach's “French Suite No. 5 in G Major.” She will also play that piece at Sunday's concert.
Dinnerstein said playing at so many different types of venues has given her a “good perspective” on performing. While a location's piano and acoustics have the most obvious affect on a concert for her, she also said she enjoys performing in places where she knows the audience values the fact that there is a classical concert taking place.
Sometimes in major venues, there can be the possibility of audience members taking such a thing for granted, she said.
“Some of the nicest experiences I've had have actually been at very unconventional places,” Dinnerstein said.
Christopher Caskey
253-5311 ext. 282
christopher.caskey@lee.net
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