May 30: Simone Dinnerstein Releases Complicité - Music of J.S. Bach - First Single Out Today

Simone Dinnerstein Releases Complicité
Music of J.S. Bach

Dinnerstein’s First Recording with her Ensemble, Baroklyn
Featuring Jennifer Johnson Cano, mezzo soprano
and Peggy Pearson, oboe d’amore

Plus a Bach Recomposition by Philip Lasser

Worldwide Digital Album Release Date: May 30, 2025

First Single – J.S. Bach’s Chorale Herr Gott – Released Today
Listen Here: https://lnkfi.re/DinnersteinBaroklynHerrGott

“Dinnerstein is an artist of strikingly original ideas and irrefutable integrity. These attributes, combined with elegance and grace, lend her music-making its captivating beauty.” – The Washington Post

Review downloads & CDs available upon request.

Simone Dinnerstein: www.simonedinnerstein.com

March 14, 2025 – ​​On May 30 2025, pianist Simone Dinnerstein releases her new album, Complicité, on the Supertrain Records label. This is her first recording with the string ensemble she founded and directs, Baroklyn (the ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough), and features the music of J.S. Bach and Philip Lasser. The first single, Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617, is out today. Listen here.

Complicité also includes Bach’s Keyboard Concerto in E Major, BWV 1053 and his chorale Der Leib war in der Erden, BWV 161 (arranged by Dinnerstein and Baroklyn); Bach’s Cantata 170, Vergnügte Ruh, beliebte Seelenlust with continuo realization by Philip Lasser; and In the Air, Lasser’s recomposition of Bach’s Air on the G String. Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore, join Dinnerstein and Baroklyn on this deeply felt recording, which embodies Dinnerstein’s artistic vision that music should always be creative and new.

Of the album title, Dinnerstein says, “Complicité is a term that I first heard from my son, who studied the teachings of the French theatre practitioner, Jacques Lecoq. Three important ideas that Lecoq communicated to his students were le jeu (playfulness), complicité (togetherness), and disponsibilité (openness). I was so intrigued by these ideas, and the different exercises that my son learned in order to cultivate these skills within ensemble acting, that I decided to try a Lecoq approach with my own musical ensemble, Baroklyn.”

Dinnerstein’s recounting of the recording process for the second aria of Bach’s Cantata 170 reflects this. She writes in the album’s liner notes, “In order to communicate most fully, we arranged the ensemble so that as much as possible, everyone could see each other. The strings and oboe d’amore formed a semi-circle around the piano, facing me. Jennifer was nestled into the piano, just to my right. That was particularly important in the opening and closing parts of this aria, which consist of a long phrase performed only by the unison strings and myself. The strings stop for breath every couple of notes, almost like someone crying and catching themselves. I asked the strings if they could move around the semi-circle one at a time, each playing a few notes and passing it to the next person during the breath. It is remarkable to hear this musical line divided between eight players, each with their own particular sound and inflection. If you listen closely, you can hear the music move from the left speaker to the right.”

Philip Lasser’s recomposition of Air on the G String also illustrates Dinnerstein’s signature approach to the music of Bach. She writes, “I asked Philip Lasser if he might write a continuo realization for me of the Air on the G String, but as an independent piece of music, like a jazz improvisation, that would happen simultaneously with the performance of the original air by the strings. What Philip wrote is truly a striking composition on its own, and it acts as a lens through which we see Bach’s music in a new light. This composition feels like a new medium – one piece of music inside another.”

Read Simone Dinnerstein’s extensive liner notes for Complicité here.

American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” 

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale della RAI. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY Award.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera.

The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

Philip Lasser is a composer with both French and American cultural roots. His music creates a unique sound world that blends the colorful harmonies of French Impressionist sonorities with the dynamic rhythms and characteristics of American music. Recent commissions include works written for Anton Mejias, Simone Dinnerstein, Emmanuel Music, The American Brass Quintet, Natalie Dessay and Ensemble Connect, Juilliard415 and Cantori New York. His works have been performed worldwide by artists such as Susanna Phillips, Midori, Simone Dinnerstein, Jan Vogler, Chad Hoopes, Zuill Bailey, Natalie Dessay, Elizabeth Futral, Sasha Cooke, Lucy Shelton, Brian Zeger, Frank Almond, Margo Garrett, and Cho-Liang Lin and many others as well as by the Atlanta, Seattle, Boulder, Shreveport and Colorado Symphonies, and the MDR Leipzig and Berlin Radio Symphony Orchestras.

Track List: 

Complicité
Release Date: May 30, 2025 | Supertrain Records
Music by J.S. Bach & Philip Lasser 

Simone Dinnerstein, director and piano
Jennifer Johnson Cano, mezzo-soprano
Peggy Pearson, oboe d’amore

Baroklyn
Violin: Rebecca Fischer, concertmaster; Gabby Diaz, Miki-Sophia Cloud, Monica Davis, Heidi Braun-Hill, Colleen Jennings, Gabriel Boyers
Viola: Jessica Thompson, Celia Hatton
Cello: Alexis Gerlach, Julian Müller
Bass: Lizzie Burns

1. J.S. Bach: Herr Gott, nun schleuß den Himmel auf, BWV 617 (arr. Dinnerstein and Baroklyn)
2-4. J.S. Bach: Keyboard Concerto in E Major, BWV 1053
5. J.S. Bach: Der Leib war in der Erden, BWV 161 (arr. Dinnerstein and Baroklyn)
6-10. J.S. Bach: Cantata 170, Vergnügte Ruh, beliebte Seelenlust (with continuo realization by Philip Lasser)
11. J.S. Bach/P. Lasser:  In the Air 

Album Credits:

Produced by Silas Brown
Engineered by Silas Brown and Doron Schachter Mastered by Silas Brown
Recorded at Mechanics Hall in Worcester, MA on September 16-18, 2024
Steinway Piano
Barbara Renner, piano technician
Cover painting by Simon Dinnerstein Montecasino Daisies, 2002
oil on wood panel, plexiglass palette, 23 1⁄4 x 44 1⁄4
Photographs by Doron Schachter
Graphic design by Ana Garlock
Executive Producer for Supertrain Records: Richard Guérin
© + ℗ 2025 Supertrain Records

April 25: GRAMMY®-nominated Pianist Simone Dinnerstein Performs with Lincoln Symphony Orchestra Led by Music Director Edward Polochick

Photo by Tanya Braganti available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs as Guest Soloist with Lincoln’s Symphony Orchestra

Featuring Brahms’ Piano Concerto No. 2 in B-Flat Major
Conducted by Music Director Edward Polochick

Friday, April 25, 2025 at 7:30pm
Lied Center for Performing Arts | 301 N 12th St | Lincoln, NE
Tickets & Information

“lean, knowing, and unpretentious elegance” – The New Yorker

Simone Dinnerstein: www.simonedinnerstein.com

Lincoln, NE – On Friday, April 25, 2025 at 7:30pm, GRAMMY®-nominated pianist Simone Dinnerstein, described by The New York Times as “colorful and idiosyncratic,” will be the featured guest soloist with Lincoln’s Symphony Orchestra (LSO) in a performance of Johannes Brahms’ Piano Concerto No. 2 in B-Flat Major. The concert will take place at the Lied Center for Performing Arts (301 N 12th St) and will be conducted by LSO Music Director Edward Polochick. Dinnerstein’s performance is part of a thrilling program that also includes Beethoven’s Egmont Overture performed side-by-side with the Lincoln Youth Symphony and the world premiere of Tightrope, a new work by LSO’s Composer-in-Residence Elena Ruehr.

The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

While Dinnerstein has come to be recognized and celebrated for her appreciation of music by J.S. Bach, she has also brought bold and expressive artistry to the work of Brahms in performances for over 10 years –– including the other of Brahms’ two piano concertos, No. 1 in D Minor, Op. 15. Brahms’ second piano concerto is a newer addition to her repertoire –– one which Dinnerstein has been excited to perform throughout this season.

“I have been eagerly anticipating collaborating with Ed Polochick and Lincoln’s Symphony Orchestra on this masterpiece,” says Dinnerstein. “This concerto is a mammoth work of chamber music, and Ed’s sensitive and masterful leadership will create the ideal partnership.”

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” is the featured soloist with Lincoln’s Symphony Orchestra, led by Music Director Edward Polochick. Dinnerstein will perform Johannes Brahms’ Piano Concerto No. 2. in B-flat Major. The concert will also include a performance of Beethoven’s Egmont Overture by the Lincoln Youth Symphony and the world premiere of Tightrope, a new work by LSO’s Composer-in-Residence Elena Ruehr.

Concert details:

Who: Pianist GRAMMY®-nominated Simone Dinnerstein
Conducted by Music Director Edward Polochick
Presented by Lincoln’s Symphony Orchestra
What: Music by Johannes Brahms, Ludwig van Beethoven, and LSO Composer-in-Residence Elena Ruehr
When: Friday, April 25, 2025 at 7:30pm
Where: Lied Center for Performing Arts 301 N 12th St. Lincoln, NE 68508
Tickets and information: www.lincolnsymphony.com/tightrope

April 11: Pianist Simone Dinnerstein Performs Reflections in Richmond

Photo by Lisa Marie Mazzucco available in high resolution at: https://www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections

A Concert Shaped by Musical Interconnection

Presented by The Modlin Center for the Arts at University of Richmond

Friday, April 11, 2025 at 7:30pm
Camp Concert Hall | 453 Westhampton Way | Richmond, VA
Tickets and More information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Richmond, VA – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” performs on Friday, April 11, 2025 at 7:30pm at Camp Concert Hall (453 Westhampton Way), presented by The Modlin Center for the Arts at University of Richmond.

Dinnerstein – who is celebrated for her Bach recordings – will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades – including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

Dinnerstein released her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will perform a program of Baroque-era inspired works in a concert presented by The Modlin Center for the Arts at University of Richmond. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by the Mobile Chamber Music Society
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Friday, April 11, 2025 at 7:30pm
Where: Camp Concert Hall, ​​453 Westhampton Way, Richmond, VA 23173
Tickets and information: www.modlin.richmond.edu/events/page.html?eventid=22755&informationid=casData

March 23 - Myra Foundation Presents: ​​​​​​​Concerts in the Galleries with GRAMMY®- Nominated Pianist Simone Dinnerstein and Violinist Rebecca Fischer

L-R Violinist Rebecca Fischer, Pianist Simone Dinnerstein

Myra Foundation Presents:
Concerts in the Galleries with GRAMMY®- Nominated Pianist Simone Dinnerstein and Violinist Rebecca Fischer

Sunday, March 23, 2025 at 2pm
North Dakota Museum of Art | 261 Centennial Drive | Grand Forks, ND
Tickets and More information

www.simonedinnerstein.com | www.rebeccafischerviolin.com

Grand Forks, ND – On Sunday, March 23, 2025 at 2pm GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” and violinist Rebecca Fisher, described by the Boston Music Intelligencer as having “beautiful tone and nuanced phrasing,” will perform in the Myra Foundation Presents: Concerts in the Galleries series at the North Dakota Museum of Art (261 Centennial Drive).

Dinnerstein and Fischer will collaborate on a program of stylistically diverse and intricate works by several different composers, including Dissolve, O My Heart (2010) by Missy Mazzoli; Sonata for Violin and Keyboard No, 4 in C Minor by J.S. Bach; Encore from Tokyo (1975; transcribed by Uwe Karcher) by Keith Jarrett; and Sonata for Violin and Piano No. 10 in G Major, Op. 96 by Ludwig van Beethoven.

Each a celebrated and prolific performer in their own right, Dinnerstein and Fischer have a well established connection through musical collaboration, which spans many years. Most notably, Fischer is the concert master of Baroklyn, a string ensemble Simone Dinnerstein founded and directs – often conducting from the piano – which specializes in the music of Bach. The two musicians will share the galleries of the North Dakota Museum of Art for a performance that features their unified musicianship in classic works by Bach and Beethoven, as well as polished displays of their solo artistry through the modern day works of Missy Mazzoli and Keith Jarrett. Strings Magazine has described Fischer’s performance of Mazzoli’s Dissolve, O My Heart as “quite beautiful.” Dinnerstein’s performances of Jarrett’s Encore from Tokyo – a work that was originally an improvisation – have earned her lively standing ovations, with Dinnerstein noting that she finds Jarrett’s music “fascinating” as she has reflected on “how to make this piece [her] own” over time.

As first violinist for the Chiara Quartet, Rebecca Fischer participated in a Chamber Music America Rural Residency at the North Dakota Museum of Art, just as her career was unfolding. Living, performing and teaching in Grand Forks for two years, she helped launch a revival of interest in chamber music and stringed instruments that has re-invigorated the music community in the Red River Valley.

About Rebecca Fischer: Violinist Rebecca Fischer is sought after as a highly expressive, intuitive performer of solo, chamber music and chamber orchestra repertoire. Garnering attention for her compelling programs of solo violin and singing violinist music, Fischer has premiered solo works by composers Lisa Bielawa, Missy Mazzoli, Nico Muhly, Paola Prestini, Mathew Fuerst, Augusta Read Thomas, Byron Au Yong, Pierre Jalbert and others. Recent solo recital engagements include Columbia University’s Miller Theater Pop-Up series, The Stone, and the University of Oregon. Fischer is also a member of The Afield, a multidisciplinary collaboration with visual artist/writer Anthony Hawley combining new and original compositions for violin, voice, and electronics with video and other media. The Afield has performed at the Harare International Festival of the Arts in Zimbabwe, Carnegie Hall, and the Atlanta Contemporary Museum, and has published work in Art Papers.

First-violinist of the Chiara String Quartet for eighteen years until the group’s final season in 2018, Fischer recorded and performed numerous works by heart, held residencies at the Metropolitan Museum of Art and Harvard University, and premiered many major new works by composers such as Gabriela Lena Frank and Philip Glass. Performance highlights include the complete Bartók Quartets by heart at Chicago’s Ravinia Festival, several complete Beethoven quartet cycles, and collaborations with such artists as the Juilliard and Saint Lawrence Quartets, Roger Tapping, Robert Levin, and the electronic duo Matmos.

Rebecca. Fischer has recorded for Azica Records (the complete string quartets of Brahms and Bartók) and New Amsterdam Records (the string quartets of Jefferson Friedman, a Grammy-nominated album). She is the Executive Director and Director of Senior Camp at Greenwood Music Camp, where she has been on the faculty since 2006. During the year she teaches violin and chamber music at the Mannes School of Music and serves as co-chair of the string department. She. holds degrees from Columbia University (B.A.) and The Juilliard School (M.M., A.D.). Her book of personal essays The Sound of Memory: Themes from a Violinist’s Life (Mad Creek Books, the Ohio University State Press) was released in April 2022. The “intimate and vulnerable” (Strings Magazine) collection has been featured on WNYC, and Fischer has given readings of her “personal, absorbing response to the author’s practical and creative journey” (Strad Magazine) at Rice University and the New School. For more information, visit www.rebeccafischerviolin.com.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance” and violinist Rebecca Fischer, who is recognized for “beautiful tone and nuanced phrasing” (Boston Musical Intelligencer), are presented by the Myra Foundation as part of the Concerts in the Galleries Series at the North Dakota Museum of Art. The concert program will include Dissolve, O My Heart by Missy Mazzoli (2010); Sonata for Violin and Keyboard No, 4 in C Minor by J.S. Bach; Encore from Tokyo by Keith Jarrett, transcribed by Uwe Karcher (1975); and Sonata for Violin and Piano No. 10 in G Major, Op. 96 by Ludwig van Beethoven.

Concert details:

Who: Pianist Simone Dinnerstein and Violinist Rebecca Fischer
Presented by The Myra Foundation as part of the Concerts in the Galleries Series
What: Music by Missy Mazzoli, J.S. Bach, Keith Jarrett (arr. Uwe Karcher), and Ludwig van Beethoven
When: Sunday, March 23, 2025 at 2pm
Where: North Dakota Museum of Art, 261 Centennial Drive Grand Forks, ND 58202
Tickets: www.ndmoa.com/concerts-in-the-galleries
More information: Brian Lofthus, North Dakota Museum of Art, 701-777-4195

Jan 19: GRAMMY-nominated Pianist Simone Dinnerstein Performs in Mobile

Photo by Tanya Braganti available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections

A Concert Shaped by Musical Interconnection
Presented by Mobile Chamber Music Society

Sunday, January 19, 2025 at 3pm
USA Laidlaw Performing Arts Center
5751 USA South Drive | Mobile, AL
Tickets and More information

“colorful and idiosyncratic”
– The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Mobile, AL – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” performs on Sunday, January 19, 2025 at 3pm at the USA Laidlaw Performing Arts Center (5751 USA South Drive) presented by the Mobile Chamber Music Society.

Dinnerstein –– who is celebrated for her Bach recordings –– will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades –– including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

Dinnerstein released her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will perform a program of Baroque-era inspired works in a concert presented by the Mobile Chamber Music Society. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by the Mobile Chamber Music Society
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Sunday, January 19, 2025 at 3pm
Where: ​​USA Laidlaw Performing Arts Center, 5751 USA South Drive, Mobile, AL 36608
Tickets and information: www.mobilechambermusic.square.site

Jan. 26: GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections: A Concert Shaped by Musical Interconnection – Presented by Chamber Music Wilmington

Photo by Lisa Marie Mazzucco available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections

A Concert Shaped by Musical Interconnection
Presented by Chamber Music Wilmington

Sunday, January 26, 2025 at 4pm
Beckwith Recital Hall | 5270 Randall Drive | Wilmington, NC
Tickets and More information

“an artist of strikingly original ideas and irrefutable integrity”
– The Washington Post

Simone Dinnerstein: www.simonedinnerstein.com

Wilmington, NC – GRAMMY®-nominated pianist Simone Dinnerstein, described by The Philadelphia Inquirer as “an intrepid artistic personality,” performs on Sunday, January 26, 2025 at the Beckwith Recital Hall (5270 Randall Drive) presented by Chamber Music Wilmington.

Dinnerstein –– who is celebrated for her Bach recordings –– will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades –– including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

Dinnerstein released her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described as “an intrepid artistic personality” by the Philadelphia Inquirer, will perform a program of Baroque-era inspired works in a concert presented by Chamber Music Wilmington. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by Chamber Music Wilmington
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Sunday, January 26, 2025 at 4pm
Where: ​​Beckwith Recital Hall, 5270 Randall Drive, Wilmington, NC 28403
Tickets and information: www.uncwarts.universitytickets.com/w/event.aspx?id=1908

Jan. 25: GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections: A Concert Shaped by Musical Interconnection – Presented by the American Music Festival

Photo by Lisa Marie Mazzucco available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein
Presented by the American Music Festival
Performs Reflections: A Concert Shaped by Musical Interconnection

Saturday, January 25, 2025 at 7pm
First Presbyterian Church | 1604 Arendell St. | Morehead City, NC
Tickets and More information

“Innovatively thematic, masterful, and emotional”
– The Boston Music Intelligencer

Simone Dinnerstein: www.simonedinnerstein.com

Morehead City, NC – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will be presented in concert as part of the American Music Festival on Saturday, January 25, 2025 at 7pm at First Presbyterian Church (1604 Arendell St.).

Dinnerstein –– who is celebrated for her Bach recordings –– will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades –– including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

Dinnerstein released her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will perform as part of The American Music Festival. The program, titled Reflections, will feature an assortment of Baroque-era inspired works. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by American Music Festival
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Saturday, January 25, 2025 at 7pm
Where: ​​First Presbyterian Church, 1604 Arendell St., Morehead City, NC 28557
Tickets and information: https://www.americanmusicfestival.org/

Dec. 18: GRAMMY®-nominated Pianist Simone Dinnerstein is Guest Soloist with Musica Sacra at Carnegie Hall Conducted by Music Director Kent Tritle

Photo of Simone Dinnerstein by Tanya Braganti available in high resolution here

GRAMMY®-nominated Pianist Simone Dinnerstein 
Performs as Soloist with Musica Sacra at Carnegie Hall

Choral Fantasy in C Minor, Op. 80 by Ludwig van Beethoven
Conducted by Music Director Kent Tritle

Wednesday December 18, 2024 at 7:30pm
Stern Auditorium / Perelman Stage | Carnegie Hall
57th St. and 7th Ave. | New York, NY 10019
Tickets and More information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

New York, NY – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” is a guest soloist with Musica Sacra for its annual holiday season concert on Wednesday December 18, 2024 at 7:30pm.”Classics for Christmas: Mozart, Bach & Beethoven,” led by Music Director Kent Tritle, will be held in Carnegie Hall’s Stern Auditorium / Perelman Stage (57th St. and 7th Ave.).

Dinnerstein, who is celebrated for her distinctive musical voice and commitment to sharing classical music with everyone, will be the featured soloist in Ludwig van Beethoven’s Choral Fantasy in C Minor, Op. 80. The concert program will also include selections from J.S. Bach’s Christmas Oratorio, “Weihnachtsoratorium,” motets by Franz Biebl, Francis Poulenc, James Bassi, and Morten Lauridsen, and W.A Mozart’s Exsultate, Jubilate, K. 165, featuring Metropolitan Opera soprano Susanna Phillips.

This is the first time that Simone Dinnerstein will perform with Musica Sacra and Kent Tritle. She says, “I am thrilled to collaborate with Kent Tritle and Musica Sacra for the first time. The Chorale Fantasy is a remarkable piece of music, and I have only had the pleasure of performing it once before. I can’t think of a better group of musicians with whom to explore this exhilarating work!”

The concert follows Dinnerstein’s release of her newest album, The Eye is the First Circle, on October 18, 2024 via Supertrain Records. The album features Charles Ives’ Concord Sonata and its release was timed to coincide with the American composer’s 150th birthday (October 20, 1874). The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, which she conceived and directed. The performance took place at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021. The Eye is the First Circle also marks Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made fourteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. Her live recording of the premiere of The Eye is the First Circle will be released on October 18, on Supertrain Records. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will be a guest soloist with Musica Sacra at Carnegie Hall’s Stern Auditorium / Perelman Stage, led by Music Director Kent Tritle. Dinnerstein will perform Ludwig van Beethoven’s Choral Fantasy in C Minor, Op. 80 as part of Musica Sacra’s annual holiday concert, which will also include selections from J.S. Bach’s Christmas Oratorio, “Weihnachtsoratorium,” motets by Franz Biebl, Francis Poulenc, James Bassi, and Morten Lauridsen, and W.A Mozart’s Exsultate, Jubilate, K. 165, featuring Metropolitan Opera soprano Susanna Phillips.

Concert details:

Who: Musica Sacra Conducted by Kent Tritle with Soloists Pianist Simone Dinnerstein and Soprano Susanna Phillips
What: Music by Ludwig van Beethoven, J.S. Bach, W.A. Mozart, Franz Biebl, Francis Poulenc, James Bassi, and Morten Lauridsen
When: Wednesday, December 18, 2024 at 7:30pm
Where: Stern Auditorium / Perelman Stage at Carnegie Hall, New York, NY 10019
Tickets and Information: www.musicasacrany.com/mozart-bach-and-beethoven/

Nov. 14: Pianists Simone Dinnerstein and Awadagin Pratt in DIALOGUE Concertos for Two Pianos with the Manitoba Chamber Orchestra Conducted by Aisslinn Nosky

L-R Photo of Simone Dinnerstein by Lisa Marie Mazzucco; Photo of Awadagin Pratt by Rob Davidson

Pianists Simone Dinnerstein and Awadagin Pratt
in DIALOGUE Concertos for Two Pianos

with the Manitoba Chamber Orchestra
Conducted by Aisslinn Nosky

Thursday, November 14, 2024 at 7.30pm
Crescent Arts Centre | 525 Wardlaw Ave. | Winnipeg, MB
Tickets and Information

www.simonedinnerstein.com | www.awadagin.com

Winnipeg, MB – On Thursday, November 14, 2024 at 7.30pm, GRAMMY®-nominated pianist Simone Dinnerstein, who is described by The New York Times as “colorful and idiosyncratic” and GRAMMY®-winning pianist Awadagin Pratt, whose performances are described by the Washington Post as “forceful, imaginative, and precisely tinted,” will perform in concertos for two pianos with the Manitoba Chamber Orchestra led by Aisslinn Nosky at Crescent Arts Centre (525 Wardlaw Ave.). Nosky was an Artist-in-Residence with the Manitoba Chamber Orchestra from 2019 to 2022. Dinnerstein and Pratt will be the featured soloists in Johann Sebastian Bach’s Concerto for two pianos, No. 3, BWV 1062 in C Minor and Wolfgang Amadeus Mozart’s Two Piano Concerto No. 10, K. 365. The program will also include John Adams’s Shaker Loops.

Longtime friends and collaborators Simone Dinnerstein and Awadagin Pratt have performed together many times over their respective careers, cultivating a deep respect and admiration for one another’s artistry. Each an accomplished musician and uniquely expressive pianist in their own right, Dinnerstein and Pratt have an intangible but compelling dynamic when performing together. Their poised synchronicity and mutual understanding unveils a blend of their musical voices.

“I am so looking forward to collaborating with Anne Manson and the Manitoba Chamber Orchestra again.” Dinnerstein says. “I have wonderful memories of our summer tour playing Philip Glass’s Piano Concerto No 3, which they co-commissioned for me. It will be a joy to combine the fun of two-pianos with Awadagin with this wonderful group of musicians!”

More about Simone Dinnerstein: In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

For more information, please visit www.simonedinnerstein.com.

About Awadigan Pratt: Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.

Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois with his family, he also began studying violin. At the age of 16 he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas – piano, violin and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt received the Distinguished Alumni Award from Johns Hopkins as well as an honorary doctorate from Illinois Wesleyan University after delivering the commencement address in 2012.

For more information, please visit: www.awadagin.com

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The New York Times as “an utterly distinctive voice in the forest of Bach interpretation,” and GRAMMY®-winning pianist Awadagin Pratt, whose performances have been described by the Washington Post as “forceful, imaginative, and precisely tinted,” perform with the Manitoba Chamber Orchestra led by Aisslinn Nosky. Dinnerstein and Pratt will perform Johann Sebastian Bach’s Concerto for two pianos, No. 3, BWV 1062 in C Minor and Wolfgang Amadeus Mozart’s Two Piano Concerto No. 10, K. 365. The program will also include John Adams’s Shaker Loops.

Concert details:

Who: Pianists Simone Dinnerstein and Awadagin Pratt
Performing with the Manitoba Chamber Orchestra, conducted by Aisslinn Nosky
What: Music by J.S. Bach, John Adams, and W.A. Mozart
When: Thursday, November 14, 2024 at 7.30pm
Where: Crescent Arts Centre, 525 Wardlaw Ave, Winnipeg, MB R3L 0L9, Canada
Tickets and information: www.themco.ca/concerts/3-dialogue

Oct 18: Simone Dinnerstein Releases New Album The Eye is the First Circle - Charles Ives' Concord Sonata

Photo of Simone Dinnerstein by Tanya Braganti available in high resolution at: https://jensen-artists.squarespace.com/artists-profiles/simone-dinnerstein 

Simone Dinnerstein Announces New Album The Eye is the First Circle 

Featuring Charles Ives’ Concord Sonata
Coinciding with the Composer’s 150th Birthday

Release Date on Supertrain Records: October 18, 2024 

Listen to Simone’s NPR Interview About the Live Production of The Eye is the First Circle 

Pre-Order/Save the Album

CDs and press downloads available upon request.

www.simonedinnerstein.com | www.eyeisthefirstcircle.com | www.supertrainrecords.com

GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” will release her next album, The Eye is the First Circle featuring iconic American composer Charles Ives’ Concord Sonata, on October 18, 2024 via Supertrain Records – timed to coincide with Ives’ 150th birthday on October 20. The new album is a live recording of the premiere of Dinnerstein’s multimedia production of the same title, at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021.

The recording is Dinnerstein's last to be released with her longtime recording partner, GRAMMY-winning producer Adam Abeshouse, who also produced her previous thirteen albums. She says, “The Eye is the First Circle was a deeply personal project for me, and it was very meaningful to have Adam there. It is even more meaningful that this marks our last album together.”

Dinnerstein has long been drawn to the music of Charles Ives. “There is a type of wild struggle in his music between the weighty influences of the past and the Americana of his upbringing and his quest for developing his own musical language,” she says. “The music seems to vacillate between a kind of haunting memory of beauty and an extremely dissonant and forward-looking anticipation of the future. It’s deeply human, incorporating tragedy and comedy, a striving for the spiritual and an embrace of popular culture. In our present day, when every one of us is able at the drop of the hat to curate the most esoteric of playlists, both literally and metaphorically, his music resonates deeply.” 

With her production The Eye is the First Circle, Simone Dinnerstein ventured into bold interdisciplinary artistic territory in collaboration with projection designer Laurie Olinder and lighting designer Davison Scandrett. Conceived and directed by Dinnerstein, the dynamic production deconstructs and collages elements from two iconic works of art – Simone’s father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’ Concord Sonata – and also incorporates ambient sounds of children playing, night sounds from the pond, and birdsong.

In the live, multimedia performance, Simon Dinnerstein’s The Fulbright Triptych places a family portrait (including an infant Simone) within the tradition of Medieval altar paintings, against a wall teeming with art historical references, and the Concord Sonata expresses the imaginative and natural world of the Transcendentalists through an ecstatic and fractured musical lens. Olinder pulls visuals including animated elements of the painting and real-time video to all points of the stage, and Scandrett’s lighting gives them breathtaking theatricality. Dinnerstein’s searching performance sits within this disorientingly immersive visual space. The piece asks: How do our origin stories mold us? How can a sense of self come from the musical and visual fragments we remember from childhood?

The Eye is the First Circle was inspired in part by a quote from Ralph Waldo Emerson’s essay Circles: “The life of man is a self-evolving circle, which, from a ring imperceptibly small, rushes on all sides outwards to new and larger circles, and that without end.” 

Dinnerestein explains the work further, writing in the liner notes for this album:

“We tend to think of identity as taking us back to our roots, the part of us which remains essentially the same across time. In fact, identity is always a never-completed process of becoming – a process of shifting identifications, rather than a singular, complete, finished state of being. Ives’ music teems with invention, with the music that was all around him – art music and popular music – from which he, in turn, created his own distinctive and changing voice. . . This artistic project was a way in which I could ponder the process we’ve all been through – the accretion of experiences and influences that brought me to the place I was. It was an attempt to do what Emerson argued that we all want to do: to draw a new circle.” 

In addition to the premiere at Montclair State University presented and commissioned by PEAK Performances, Dinnerstein has performed The Eye is the First Circle at the Folly Theater in Kansas City presented by the Harriman Jewell Series and at the Gogue Performing Arts Center at Auburn University.

About Simone Dinnerstein:

American pianist Simone Dinnerstein has a distinctive musical voice. She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” 

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by Grammy Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. In addition to The Eye is the First Circle, she premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera and the Cleveland Orchestra. Dinnerstein has also created her own ensemble, Baroklyn, which she directs.

The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

Track List: 

Simone Dinnerstein: The Eye is the First Circle
Charles Ives’ Concord Sonata
Simone Dinnerstein, piano
Supertrain Records | Release Date: October 18, 2024 

Charles Ives: Concord Sonata
1. "Emerson" (after Ralph Waldo Emerson) [16:19]
2. "Hawthorne" (after Nathaniel Hawthorne) [12:21]
3. "The Alcotts" (after Bronson Alcott and Louisa May Alcott) [5:33]
4. "Thoreau" (after Henry David Thoreau) [11:31] 

Produced and engineered by Adam Abeshouse
Edited, mixed and mastered by Adam Abeshouse
Sequencing by Matthew Agoglia 

Photos by Maria Baranova 

Yamaha CFX
Piano Technician: Shane Hoshino

The Eye is the First Circle is a multimedia work commissioned by PEAK Performances at Montclair State University. This recording is the audio from the premiere at the Alexander Kasser Theater, Montclair State University, New Jersey on October 17, 2021.

Nov. 19: GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections – A Concert Shaped by Musical Interconnection Presented by Tuesday Musical Association

Photo of Simone Dinnerstein by Tanya Braganti available in high resolution at: https://jensen-artists.squarespace.com/artists-profiles/simone-dinnerstein 

GRAMMY®-nominated Pianist Simone Dinnerstein 
Performs Reflections

A Concert Shaped by Musical Interconnection
Presented by Tuesday Musical Association

Tuesday, November 19, 2024 at 7:30pm
Edwin J. Thomas Performing Arts Hall | 198 Hill St. | Akron, OH
Tickets and More Information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Akron, OH – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” performs on Tuesday, November 19, 2024 at the Edwin J. Thomas Performing Arts Hall (198 Hill St.) presented by Tuesday Musical’s 2024-25 Akron Concert Series..

Dinnerstein –– who is celebrated for her Bach recordings and is Tuesday Musical’s Margaret Baxtresser Pianist this season –– will perform the music of J. S. Bach and other Baroque era-inspired selections in a program titled Reflections, which includes Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

“I have titled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it,” Dinnerstein says. “To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Simone Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades –– including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts and were recorded by GRAMMY Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a GRAMMY.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will perform a program of Baroque-era inspired works in a concert presented by Tuesday Musical’s 2024-25 Akron Concert Series. Her program, titled Reflections, will include J.S. Bach’s Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles from Nouvelles Suites de Pieces de Clavecin (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Presented by Tuesday Musical’s 2024-25 Akron Concert SeriesWhat: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Tuesday, November 19, 2024 at 7:30pm
Where: ​​Edwin J. Thomas Performing Arts Hall, 198 Hill St., Akron, OH 44325
Tickets and information: www.akronconcertseries.org/simone-dinnerstein

Oct. 19: GRAMMY®-nominated Pianist Simone Dinnerstein is Soloist with the Colorado Springs Philharmonic Conducted by Rory Macdonald

Photo by Lisa Marie Mazzucco available in high resolution at: https://www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY®-nominated Pianist Simone Dinnerstein
is Soloist with the Colorado Springs Philharmonic

Performing Mozart’s Piano Concerto No. 21 in C Major, K. 467
Conducted by Rory Macdonald

Saturday, October 19 at 7:30pm & Sunday, October 20 at 2:30pm
ENT Center for the Arts | 5225 N Nevada Ave | Colorado Springs, CO

Tickets and More Information:
www.csphilharmonic.org/event/mozart-beethoven

“lean, knowing, and unpretentious elegance” – The New Yorker

Simone Dinnerstein: www.simonedinnerstein.com

Colorado Springs, CO – GRAMMY®-nominated pianist Simone Dinnerstein, who is described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” will be the featured soloist with the Colorado Springs Philharmonic conducted by Rory Macdonald, in two performances on Saturday, October 19 at 7:30pm and on Sunday, October 20 at 2:30pm. Dinnerstein, an American pianist who is heralded for her distinctive musical voice and commitment to sharing classical music with everyone, will perform Mozart’s Piano Concerto No. 21 in C Major, K. 467. The program also includes Lachrimae antiquae by John Dowland, Within Her Arms by Anna Clyne, and Ludwig van Beethoven’s Symphony No. 2.

The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” As a musician who embraces collaboration and inclusiveness with her artistry and performances, Mozart’s Piano Concerto No. 21 in C Major, K. 467 holds particular significance for Dinnerstein. Not only is the piece included on her 2017 album, Mozart in Havana, but the concerto served as a point of artistic connection between Dinnerstein and the Havana Lyceum Orchestra, with which she performed the piece while visiting Cuba in 2015, at the invitation of her teacher and esteemed pianist, Solomon Mikowsky. Gramophone describes Dinnerstein’s performance of the C Major K 467 concerto as having “heartfelt directness, purity of line.”

Of the personal significance behind Mozart’s Piano Concerto No. 21 in C Major and her priceless memories performing the work, Dinnerstein says:

“This Mozart concerto has been one of my favorites since I was a child. I’ve had many memorable experiences performing it, from the thrilling experience of performing it in Vienna, where Mozart lived, to recording it in Havana with the extraordinary Havana Lyceum Orchestra and subsequently touring it with them in the United States. The writing is reminiscent of Mozart’s operatic output, and it is a complete joy to sing on the piano.”

More about Simone Dinnerstein: Simone Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

For more information, please visit www.simonedinnerstein.com.

About Colorado Springs Philharmonic: The Colorado Springs Philharmonic is an independent symphony orchestra whose mission is to offer brilliant musical performances and in-person experiences that draw families, friends, and loved ones together. We honor the rich traditions upon which our art was founded and work tirelessly to see it continues to hold a prominent place in the future of the community. We have great reverence for what we do, and great esteem for all who love and support it—most especially the everyday enthusiast who enjoys music for its own sake.

For Calendar Editors:

Description: GRAMMY®-nominated Pianist Simone Dinnerstein, an artist of “lean, knowing, and unpretentious elegance” (The New Yorker), is presented in concert with the Colorado Springs Philharmonic led by Rory Macdonald. Dinnerstein will be the featured soloist in a performance of Mozart’s Piano Concerto No. 21 in C Major, K. 467 – a vibrant orchestral work Dinnerstein brought to wider attention through performance, touring, and recording it alongside the Havana Lyceum Orchestra. The concert will also include Lachrimae antiquae by John Dowland, Within Her Arms by Anna Clyne, and Ludwig van Beethoven’s Symphony No. 2.

Concert details:

Who: GRAMMY®-nominated Pianist Simone Dinnerstein
Presented by Colorado Springs Philharmonic
Conducted by Rory Macdonald
What: Music by W. A. Mozart, John Dowland, Anna Clyne, and Ludwig van Beethoven
When: Saturday, October 19, 2024 at 7:30pm
Sunday, October 20, 2024 at 2:30pm
Where: ENT Center for the Arts, 5225 N Nevada Ave., Colorado Springs, CO 80918
Tickets and information: https://www.csphilharmonic.org/event/mozart-beethoven

Oct. 24: Simone Dinnerstein and Awadagin Pratt Presented by Miller Theatre at Columbia University – Performing Works for Solo Piano, Two Pianos, and Piano for Four Hands

L-R Photo of Simone Dinnerstein by Lisa Marie Mazzucco; Photo of Awadagin Pratt by Rob Davidson

Pianists Simone Dinnerstein and Awadagin Pratt
Presented by Miller Theatre at Columbia University

Thursday, October 24, 2024 at 7:30pm
Miller Theatre at Columbia University
2960 Broadway (at 116th Street) | New York, NY
Tickets and Information

“an artist of strikingly original ideas and irrefutable integrity”

– The Washington Post

Simone Dinnerstein: www.simonedinnerstein.com

New York, NY – On Thursday, October 24, 2024 at 7:30pm, GRAMMY®-nominated pianist Simone Dinnerstein, who is described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” and GRAMMY®-winning pianist Awadagin Pratt, whose performances are described by the Washington Post as “forceful, imaginative, and precisely tinted,” will be presented in concert by Miller Theatre at Columbia University (2960 Broadway, at 116th Street).

American pianist Simone Dinnerstein has a distinctive musical voice and remains steadfast in her commitment to sharing classical music with everyone. Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” Dinnerstein has performed with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. Her performances have been presented in venues from Carnegie Hall and the Kennedy Center, to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. Thus far in her career Dinnerstein has made thirteen albums, all of which topped the Billboard charts.

Beyond their mutual passion for and prestige with the piano, Dinnerstein and Pratt share a long time friendship and appreciation for collaborative performance. The two musicians have performed together many times over their respective careers, cultivating a deep respect and admiration for one another’s artistry. For this concert, Dinnerstein and Pratt will collaborate on a program that includes several selections for piano: two pianos, piano with four hands, and solo selections for piano, including: Castillo Interior by Pēteris Vasks, performed by Pratt; Philip Glass’s Etude No. 6, performed by Dinnerstein; Wolfgang Amadeus Mozart’s Sonata for Two Pianos in D Major, K. 448 performed by Dinnerstein and Pratt; and Ludwig van Beethoven’s stately Symphony No. 6 in F, Op. 68 “Pastoral” –– as arranged by Selmar Bagge –– performed by Dinnerstein and Pratt together at a single piano.

Of performing this program with Awadagin Pratt, Dinnerstein says:

“There is an intimacy to the two-piano repertoire that makes a concert hall feel like a living room. This repertoire was meant to be played at home. Historically, symphonies were arranged for two-piano as a way of becoming familiar to music lovers long before the days of recording, and when live orchestral performances were few and far between. Orchestral transcriptions require so much imagination, and also reveal elements of the counterpoint that may be different than what one’s impressions are from hearing the fully orchestrated version. I’m anticipating that this concert will have a friendly and more informal feel to it as a result of this quality in the music itself.”

More about Simone Dinnerstein: In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

For more information, please visit www.simonedinnerstein.com.

About Awadigan Pratt: Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.

Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois with his family, he also began studying violin. At the age of 16 he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas – piano, violin and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt received the Distinguished Alumni Award from Johns Hopkins as well as an honorary doctorate from Illinois Wesleyan University after delivering the commencement address in 2012.

For more information, please visit: www.awadagin.com

About Miller Theatre: Miller Theatre at Columbia University is the leading presenter of new music in New York City and a vital force for innovative programming. In partnership with Columbia University School of the Arts, Miller is dedicated to producing and presenting unique events, with a focus on contemporary and early music, jazz, opera, and multimedia performances. Founded in 1988, Miller Theatre has helped launch the careers of myriad composers and ensembles over the years, serving as an incubator for emerging artists and a champion of those not yet well known in the United States. A four-time recipient of the ASCAP/Chamber Music America Award for Adventurous Programming, Miller Theatre continues to meet the high expectations set forth by its founders—to present innovative programs, support the development of new work, and connect creative artists with adventurous audiences.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” and GRAMMY®-winning pianist Awadagin Pratt, are presented in concert by Miller Theatre at Columbia University. Dinnerstein and Pratt will perform a program featuring music written for two pianos, piano with four hands, as well as solo selections. The concert will include music by Pēteris Vasks, Philip Glass, Wolfgang Amadeus Mozart, Ludwig van Beethoven/Selmar Bagge.

Concert details:

Who: Pianists Simone Dinnerstein and Awadagin Pratt
Presented by Miller Theatre at Columbia University
What: Music by Pēteris Vasks, Philip Glass, Ludwig van Beethoven (Arranged by Selmar Bagge) and W.A. Mozart
When: Thursday, October 24, 2024 at 7:30pm
Where: Miller Theatre at Columbia University 2960 Broadway (at 116th Street), New York, NY 10027
Tickets and information: www.millertheatre.com/events/simone-dinnerstein-and-awadagin-pratt

Aug. 15: GRAMMY®-nominated Pianist Simone Dinnerstein Performs at the Aspen Music Festival and School in Music by J.S. Bach, Philip Lasser, Keith Jarrett, and Jean-Philippe Rameau

Photo by Lisa Marie Mazzucco available in high resolution at: www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY®-nominated Pianist Simone Dinnerstein
Performs at the Aspen Music Festival and School

In Music by J.S. Bach, Philip Lasser,
Keith Jarrett, and Jean-Philippe Rameau

Thursday, August 15, 2024 at 6:00pm
Harris Concert Hall | 960 North 3rd Street | Aspen, CO
Tickets and More information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Aspen, CO – GRAMMY®-nominated pianist Simone Dinnerstein, described by The Philadelphia Inquirer as “an intrepid artistic personality,” performs on Thursday, August 15, 2024 at the Aspen Music Festival and School at Harris Concert Hall (960 North 3rd Street). Dinnerstein –– who is celebrated for her Bach recordings –– will perform the music of J.S. Bach and other Baroque era-inspired selections: Philip Lasser’s Twelve Variations On A Chorale By J.S. Bach (2002); Gavotte et 6 Doubles From Nouvelles Suites de Pieces de Clavecin by Jean-Philippe Rameau (c. 1729-30); J. S. Bach’s Fifteen Sinfonias, BWV 787–801 (1720-23); and Encore From Tokyo (1978) by Keith Jarrett.

Dinnerstein shares this of the concert program: “I have entitled this program Reflections, as I think that each work sounds unusual because of the way it is reflected against the music around it. To enhance this quality, I play each half of the program (Rameau-Lasser and Bach-Jarrett) without pause between the pieces.”

Dinnerstein has been playing Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach for over two decades –– including as part of The Berlin Concert, her 2008 album. Lasser takes the chorale from Cantata No. 101 in which, he says, “Bach chooses a particular melodic moment from the Lutheran hymn and infuses all the other voices of the Chorale with this unique sonority, with an almost maniacal insistence. In my Variations, I take on this mania to see how far one can go.”

Bach’s contemporary Rameau also composed a set of variations but on his own gavotte: Gavotte et 6 doubles from Nouvelles suites de pieces de clavecin. In his preface, Bach wrote that his Fifteen Sinfonias were, “An honest guide by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way…to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition." Keith Jarrett’s Encore from Tokyo embraces the Baroque convention of a descending repeating bass line and builds a harmonically adventurous and wide-ranging improvisation around it.

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY-nominated® pianist Simone Dinnerstein, described by The Philadelphia Inquirer as “an intrepid artistic personality,” will perform a program of Baroque-era inspired works at the Aspen Music Festival and School. Known for her dedication to learning about and performing the music of J.S. Bach, the program will include J.S. Bach’s technical collection of Fifteen Sinfonias (1720-23), Philip Lasser’s Twelve Variations on a Chorale by J.S. Bach (2002), Keith Jarrett’s Encore From Tokyo (1978), and Jean-Philippe Rameau’s Gavotte et 6 Doubles (c. 1729-30).

Concert details:

Who: Pianist Simone Dinnerstein
Performing as part of the Aspen Music Festival
What: Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Thursday, August 15, 2024 at 6:00pm
Where: Harris Concert Hall, 960 North 3rd Street, Aspen, CO 81611
Tickets and information: www.aspenmusicfestival.com/events/calendar/a-recital-by-simone-dinnerstein-piano-1/

July 21: Pianists Simone Dinnerstein & Awadagin Pratt Perform as part of An Appalachian Summer Festival

Pianists Simone Dinnerstein and Awadagin Pratt
Performing as part of An Appalachian Summer Festival
A Broyhill Classic Concert Series Event

Presented by Appalachian State University
Office of Arts Engagement and Cultural Resources

Sunday, July 21, 2024 at 2:00pm
Rosen Concert Hall, Broyhill Music Center
813 Rivers St. | Boone, NC

Tickets and Information

www.simonedinnerstein.com | www.awadagin.com

Boone, NC – GRAMMY-nominated pianist Simone Dinnerstein, described by The New York Times as “colorful and idiosyncratic,” along with GRAMMY-winning pianist Awadagin Pratt, will be presented in concert by the Appalachian State University Office of Arts Engagement and Cultural Resources, as part of An Appalachian Summer Festival’s Broyhill Classic Concert Series. The concert will take place in Rosen Concert Hall, Broyhill Music Center, (813 Rivers St.) on Sunday, July 21, 2024 at 2:00pm. Supporting sponsorship is provided by the Broyhill Family Foundation and Campus Store.

American pianist Simone Dinnerstein has a distinctive musical voice and remains steadfast in her commitment to sharing classical music with everyone. Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts.

Beyond their mutual passion for and prestige with the piano, Dinnerstein and Pratt share a long time friendship and appreciation for collaborative performance. The two musicians have performed together many times over their respective careers, cultivating a deep respect and admiration for one another’s artistry. For this performance, Dinnerstein and Pratt will collaborate on a program featuring several selections for piano: two pianos, piano with four hands, and solo selections for piano, including: Castillo Interior by Pēteris Vasks, performed by Pratt; Philip Glass’s Etude No. 6, performed by Dinnerstein; Wolfgang Amadeus Mozart’s Sonata for Two Pianos in D Major, K. 448 performed by Dinnerstein and Pratt; and Ludwig van Beethoven’s stately Symphony No. 6 in F, Op. 68 “Pastoral” –– as arranged by Selmar Bagge –– performed by Dinnerstein and Pratt together at a single piano.

Of performing this program with Awadagin Pratt, Dinnerstein says:

“There is an intimacy to the two-piano repertoire that makes a concert hall feel like a living room. This repertoire was meant to be played at home. Historically, symphonies were arranged for two-piano as a way of becoming familiar to music lovers long before the days of recording, and when live orchestral performances were few and far between. Orchestral transcriptions require so much imagination, and also reveal elements of the counterpoint that may be different than what one’s impressions are from hearing the fully orchestrated version. I’m anticipating that this concert will have a friendly and more informal feel to it as a result of this quality in the music itself.”

More about Simone Dinnerstein: In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

For more information, please visit www.simonedinnerstein.com.

About Awadagin Pratt: Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras. Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois with his family, he also began studying violin. At the age of 16 he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas – piano, violin and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt received the Distinguished Alumni Award from Johns Hopkins as well as an honorary doctorate from Illinois Wesleyan University after delivering the commencement address in 2012.

For more information, please visit: www.awadagin.com

For Calendar Editors:

Description: GRAMMY-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” and GRAMMY-winning pianist Awadagin Pratt, are presented in concert by the Appalachian State University Office of Arts & Cultural Programs as part of An Appalachian Summer Festival - A Broyhill Classic Concert Series Event. Dinnerstein and Pratt will perform a program featuring music written for two pianos, piano with four hands, as well as solo selections. The concert will include music by Pēteris Vasks, Philip Glass, Wolfgang Amadeus Mozart, Ludwig van Beethoven/Selmar Bagge.

Concert details:
Who: Pianists Simone Dinnerstein and Awadagin Pratt
Presented by Appalachian State University’s Office of Arts Engagement and Cultural Resources as part of An Appalachian Summer Festival’s Broyhill Classic Concert Series
What: Music by Pēteris Vasks, Philip Glass, Wolfgang Amadeus Mozart, Ludwig van Beethoven
When: Sunday, July 21, 2024 at 2:00pm
Where: Rosen Concert Hall, Broyhill Music Center, 813 Rivers St., Boone, NC 28608
Tickets and information: www.appsummer.org/event/simone-dinnerstein-and-awadagin-pratt-piano

July 5: GRAMMY-nominated Pianist Simone Dinnerstein Makes Highly Anticipated Return to San Francisco – Performing as part of Art of the Piano Festival Presented by Awadagin Pratt

Photo of Simone Dinnerstein by Arianna Dominguez available in high resolution at: https://jensen-artists.squarespace.com/artists-profiles/simone-dinnerstein 

GRAMMY-nominated Pianist Simone Dinnerstein
Performing as part of Art of the Piano Festival
Presented by Awadagin Pratt

Friday, July 5, 2024 at 7:00pm
San Francisco Conservatory of Music
Barbro Osher Recital Hall | 200 Van Ness Avenue | San Francisco, CA

Tickets and More information

“an intrepid artistic personality” – The Philadelphia Inquirer

Simone Dinnerstein: www.simonedinnerstein.com

San Francisco, CA – GRAMMY-nominated pianist Simone Dinnerstein, described by The Washington Post as an “an artist of strikingly original ideas and irrefutable integrity,” will perform on Friday, July 5, 2024 as part of the Art of the Piano Festival, presented by pianist Awadagin Pratt. The performance will be held in the San Francisco Conservatory of Music’s Barbro Osher Recital Hall (200 Van Ness Avenue).

This concert marks Dinnerstein’s first return to San Francisco since early 2020, just before the pandemic began. Her last concert in the area featured her in performance with Lynn Harrell, Daniel Hope, and the New Century Chamber Orchestra, performing the Beethoven Triple Concerto. The concert would end up becoming Harrell’s final performance of this work.

Dinnerstein, who is celebrated for her distinctive musical voice and commitment to sharing classical music with everyone, will perform several selections found on her 2022 Orange Mountain Music album Undersong –– the final installment in a trilogy of albums recorded at her home in Brooklyn during the pandemic between 2020 and 2022, which also includes A Character of Quiet (Orange Mountain Music, 2020) and Richard Danielpour’s An American Mosaic (Supertrain Records, 2021). The latter surpassed two million streams on Apple Music and was nominated for a 2021 GRAMMY Award in the category of Best Classical Instrumental Solo. The concert program will include Robert Schumann’s Arabesque in C Major, Op. 18 and Kreisleriana, Op. 16; François Couperin­’s Les Barricades Mysterieuses; Philip Glass’s Mad Rush; and Erik Satie’s Gnossienne No. 3.

Dinnerstein explains of Undersong’s title: “Undersong is an archaic term for a song with a refrain, and to me it also suggests a hidden text. Glass, Schumann, Couperin and Satie all seem to be attempting to find what they want to say through repetition, as though their constant change and recycling will focus the ear and the mind. This time has been one of reflection and reconsidering for many of us, and this music speaks to the process of revisiting and searching for the meaning beneath the notes, of the undersong.”

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the `world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: Pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” will perform as part of the Art of the Piano Festival presented by pianist Awadagin Pratt. Dinnerstein will perform several selections found on her 2022 Orange Mountain Music release, Undersong, including Robert Schumann’s Arabesque in C Major, Op. 18 and Kreisleriana, Op. 16; François Couperin­’s Les Barricades Mysterieuses, and Philip Glass’s Mad Rush; and Erik Satie’s Gnossienne No. 3.

Concert details:

Who: Pianist Simone Dinnerstein
Performing as part of The Art of the Piano Festival presented by Awadagin Pratt
What: Music by François Couperin­, Robert Schumann, Philip Glass, and Erik Satie
When: Friday, July 5, 2024 at 7:00pm
Where: San Francisco Conservatory of Music, Barbro Osher Recital Hall, 200 Van Ness Avenue, San Francisco, CA 94102
Tickets and information: www.artofthepiano.org/calendar-of-events/dinnerstein-recital-2024

May 17, 19: GRAMMY®-nominated Pianist Simone Dinnerstein is Soloist with The Chamber Orchestra of Philadelphia in Mozart’s Piano Concerto No. 23 – Conducted by Music Director Dirk Brossé

Photo by Lisa Marie Mazzucco available in high resolution at: www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY-nominated Pianist Simone Dinnerstein is Soloist with The Chamber Orchestra of Philadelphia
in W.A. Mozart’s Piano Concerto No. 23 in A major

Conducted by Music Director Dirk Brossé

Friday, May 17, 2024 at 7:30pm
Sunday, May 19, 2024 at 2:30pm
Perelman Theater, The Kimmel Center for the Performing Arts
300 S Broad St. | Philadelphia, PA

Tickets and Information

“an intrepid artistic personality” – The Philadelphia Inquirer

Simone Dinnerstein: www.simonedinnerstein.com

Philadelphia, PA – GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will be the featured soloist in two concerts with The Chamber Orchestra of Philadelphia on Friday, May 17, 2024 at 7:30pm and Sunday, May 19, 2024 at 2:30pm. Dinnerstein will perform W.A. Mozart’s Piano Concerto No. 23 in A major on a program led by Music Director Dirk Brossé that also includes George Walker‘s Lyric for Strings, and Ludwig van Beethoven’s Symphony No. 1 in C major. The concert will be held in Perelman Theater of The Kimmel Center for the Performing Arts (300 S Broad St.)

A familiar and cherished guest artist of The Chamber Orchestra of Philadelphia, Dinnerstein returns to perform with the chamber ensemble following a 2021 concert, which featured the work of J.S. Bach and Philip Glass. Of that concert, the Philadelphia Inquirer wrote that Dinnerstein “found a great deal of joy and liberation,” throughout the performance.

The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

As a musician who embraces collaboration and inclusiveness with her artistry and performances, Mozart’s Piano Concerto No. 23 in A Major holds particular significance for Dinnerstein. Not only is the piece included on her 2017 album, Mozart in Havana, but the concerto served as a point of artistic connection between Dinnerstein and the Havana Lyceum Orchestra, with which she performed the piece while visiting Cuba in 2015, at the invitation of her teacher and esteemed pianist, Solomon Mikowsky. Gramophone describes Dinnerstein’s approach to piece, which she also recorded with the Havana Lyceum Orchestra for her album, as having a “wide yet subtle palette of tonal shadings and articulations,” while also applauding her “crisp fingerwork and strategic left-hand accents” in the concerto’s finale.

Dinnerstein says of reuniting with Dirk Brossé and performing Mozart’s Piano Concerto No. 23 with the Chamber Orchestra of Philadelphia:

“It is an honor to be performing with Maestro Dirk Brossé for his final two concerts as Music Director of the Chamber Orchestra of Philadelphia. His sensitivity as a conductor makes him a joy to work with, and I am anticipating our Mozart collaboration with great pleasure.”

More about Simone Dinnerstein: Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

About The Chamber Orchestra of Philadelphia: The Berkshire Symphony is a 75-member symphonic orchestra comprising, in roughly equal proportions, Williams College music students, Williams music faculty members, and area professionals. The Symphony performs music by a range of composers, including Beethoven, Brahms, Haydn, Mozart, Schubert, Schumann, Tchaikovsky, Stravinsky, and Wagner. The Berkshire Symphony was founded in 1946 and is directed by Ronald Feldman.

The Chamber Orchestra of Philadelphia, a founding resident company of The Kimmel Center for the Performing Arts, is a 33-member professional ensemble led by Music Director, Sir Dirk Brossé. Established in 1964 by Marc Mostovoy, and originally named Concerto Soloists, the orchestra has a well-established reputation for distinguished performances of repertoire spanning the Baroque period through the 21st century.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The Philadelphia Inquirer as “an intrepid artistic personality,” is presented as a guest soloist in two concerts with The Chamber Orchestra of Philadelphia, performing W.A. Mozart’s Piano Concerto No. 23 in A major –– a lively work featured on Dinnerstein’s 2017 Sony Classical album, Mozart in Havana. Conducted by Music Director Dirk Brossé, the concert program will also include George Walker’s Lyric for Strings, and Ludwig van Beethoven’s Symphony No. 1 in C major.

Short description: Pianist Simone Dinnerstein, “an intrepid artistic personality” (The Philadelphia Inquirer) will be a guest soloist with The Chamber Orchestra of Philadelphia in two performances of Mozart’s Piano Concerto No. 23 in A major. Led by Music Director Dirk Brossé, the program will also include Walker’s Lyric and Beethoven’s Symphony No. 1 in C major.

Concert details:

Who: Pianist Simone Dinnerstein
Conducted by Music Director Dirk Brossé
Presented by The Chamber Orchestra of Philadelphia
What: Music by W.A. Mozart, Ludwig van Beethoven, and George Walker
When: Friday, May 17, 2024 at 7:30pm and Sunday, May 19, 2024 at 2:30pm
Where: Perelman Theater, The Kimmel Center for the Performing Arts, 300 S Broad St Philadelphia, PA 19102
Tickets and information: www.chamberorchestra.org/project/mozart-dinnerstein-piano-2024

May 7: GRAMMY®-nominated Pianist Simone Dinnerstein Presented by The Gilmore International Piano Festival Performing Music from her Album Undersong

Photo by Lisa Marie Mazzucco available in high resolution at: www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY-nominated Pianist Simone Dinnerstein
Presented By The Gilmore International Piano Festival

Performing Music by Couperin, Schumann, Glass, and Satie
From her Album Undersong

Tuesday, May 7, 2023 at 7:30pm
Stetson Chapel | 1200 Academy St. | Kalamazoo, MI

Tickets and More information

“an artist of strikingly original ideas and irrefutable integrity”
– The Washington Post

Simone Dinnerstein: www.simonedinnerstein.com

Kalamazoo, MI – GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as an “an artist of strikingly original ideas and irrefutable integrity,” is presented in concert Tuesday, May 7, 2024 by The Gilmore International Piano Festival (1200 Academy St).

Dinnerstein, who is heralded for her distinctive musical voice and commitment to sharing classical music with everyone, will perform several selections found on her 2022 Orange Mountain Music album Undersong –– the final installment in a trilogy of albums recorded at her home in Brooklyn during the pandemic between 2020 and 2022, which also includes A Character of Quiet (Orange Mountain Music, 2020) and Richard Danielpour’s An American Mosaic (Supertrain Records, 2021). The latter surpassed two million streams on Apple Music and was nominated for a 2021 Grammy Award in the category of Best Classical Instrumental Solo. The concert program will include: Robert Schumann’s Arabesque, in C Major, Op. 18 and Kreisleriana, Op. 16; François Couperin­’s Les Barricades Mysterieuses, and Philip Glass’s Mad Rush; and Erik Satie’s Gnossienne No. 3.

Dinnerstein explains of Undersong’s title: “Undersong is an archaic term for a song with a refrain, and to me it also suggests a hidden text. Glass, Schumann, Couperin and Satie all seem to be attempting to find what they want to say through repetition, as though their constant change and recycling will focus the ear and the mind. This time has been one of reflection and reconsidering for many of us, and this music speaks to the process of revisiting and searching for the meaning beneath the notes, of the undersong.”

Reflecting on Schumann’s Arabesque, in C Major, Op. 18, Dinnerstein explains that it’s “a very beautiful, poetic piece of music but it ends with a separate type of epilogue that's something different from the piece and modern in a way. There's a rest before you play it and the rest serves as a bridge to Philip Glass’s Mad Rush. It's unclear to the listener whether it's Schumann or Glass. I really like that blurring of the composer's languages with each other."

Dinnerstein offers this connective observation between Schumann’s Kreisleriana, Op. 16 and Schumann’s, Arabesque “The Arabesque has some quick changes in mood and the most breathtaking coda at the end that completely takes it someplace else, written in Schumann’s music language but sounding absolutely contemporary. In comparison, Kreisleriana changes on a dime. Suddenly, you’ll be in a completely different headspace. I think that’s as much about Schumann himself, as about his love for Clara.” Sequenza21 describes Dinnerstein’s approach to Couperin’s Les Barricades Mysterieuses as “sonorous [and] eschewing ornamentation in favor of unadorned, shapely melodies.”

With its distinctly repetitious compositional structure, Philip Glass’s Mad Rush, a piece originally composed for organ at New York City’s St. John the Divine, underscores the collectively seamless nature of this program’s repertoire. The New Criterion describes Dinnerstein’s performance of the piece as “transcendent – the picture of introspection interrupted by unexpected vision.”

Of Erik Satie’s Gnossienne No. 3, Dinnerstein says, “Erik Satie published three Gymnopédie and three Gnossienne together, though he eventually wrote more Gnossienne, a fantastical term that he came up with. The markings in the score for Gnossienne No. 3 are bizarre: “Plan carefully”; “Provide yourself with clear sightedness”; “Alone for a moment”; “So as to get a hollow”; “Quite lost”; “Carry this further”; “Open your mind”. These are written right over the notes. The commentary is dada-esque.”

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

About The Gilmore: ​​The Gilmore was created in 1989 to honor the legacy of Kalamazoo businessman, pianist, and philanthropist Irving S. Gilmore, and is known for its biennial piano festival, first held in 1991. Since then, each of sixteen festivals has been enjoyed by tens of thousands of visitors to Kalamazoo, Michigan, USA. The next Irving S. Gilmore International Piano Festival is planned for April 24-May 12, 2024. The organization names a career-making Gilmore Artist Award, presented every four years and determined through a non-competitive process. Nine Gilmore Artists have been named, the most recent being 2024 Gilmore Artist Alexandre Kantarow. In 2022, a major gift launched the creation of the Larry J. Bell Jazz Artist Awards, which will be announced for the 2026 Festival. The Gilmore has also commissioned 42 new works for piano since its inception, with three more premiering at the 2024 Festival. For more information, visit thegilmore.org.

For Calendar Editors:

Description: GRAMMY®-nominated Pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” is presented in concert by The Gilmore International Piano Festival. Dinnerstein will perform several selections found on her 2022 Orange Mountain Music release, Undersong, including Robert Schumann’s Arabesque, in C Major, Op. 18 and Kreisleriana, Op. 16; François Couperin­’s Les Barricades Mysterieuses; Philip Glass’s Mad Rush; and Erik Satie’s Gnossienne No. 3.

Short description: Pianist Simone Dinnerstein, described as an artist of “an artist of strikingly original ideas and irrefutable integrity” (The Washington Post) is presented in concert by The Gilmore International Piano Festival, performing selections by François Couperin, Robert Schumann, Philip Glass, and Erik Satie from her 2022 album Undersong.

Concert details:

Who: Pianist Simone Dinnerstein
Presented by The Gilmore International Piano Festival
What: Music by François Couperin­, Robert Schumann, Philip Glass, and Erik Satie
When: Tuesday, May 7, 2024 at 7:30pm
Where: Stetson Chapel, 1200 Academy St, Kalamazoo, MI 49006
Tickets and information: www.thegilmore.org/event/simone-dinnerstein/

April 5: GRAMMY®-nominated Pianist Simone Dinnerstein Presented with Baroklyn by Gogue Performing Arts Center – Featuring the Music of J.S. Bach

Photo by Lisa Marie Mazzucco available in high resolution at: www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY-nominated Pianist Simone Dinnerstein
Presented with Baroklyn by Gogue Performing Arts Center
Featuring the Music of J.S. Bach

Third Performance as part of the Gogue Center’s 2023–24 Orchestra & Chamber Music Series

Friday, April 5, 2024, 7pm
Woltosz Theatre at Gogue Performing Arts Center
910 South College Street | Auburn, AL

Tickets and information

“colorful and idiosyncratic” – The New York Times

Simone Dinnerstein: www.simonedinnerstein.com

Auburn, AL – On Friday, April 5, 2024, GRAMMY®-nominated pianist Simone Dinnerstein returns to the Woltosz Theatre at the Gogue Performing Arts Center (910 South College Street) for her third performance as part of the Gogue Center’s 2023–24 Orchestra & Chamber Music Series. Dinnerstein, who is heralded for her distinctive musical voice and commitment to sharing classical music with everyone, will perform ​​together with her ensemble Baroklyn, in a concert the Baroque-era music of J.S. Bach. The program will include Sonata in D Major for Cello and Piano; Keyboard Concerto in D Minor; Sonata in C Minor for Violin and Piano; and Keyboard Concerto in E Major. The evening’s program is subject to change.

Over the course of more than a decade, Dinnerstein has steadily gained recognition as both a skilled and imaginative performer of Bach’s music. Public appreciation for her performances of his music began with the exuberant and wide-reaching reception of her 2007 debut album featuring J.S. Bach’s Goldberg Variations. The recording reflected an aesthetic that was both profoundly idiosyncratic and deeply rooted in the score. Dinnerstein is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Since then, Dinnerstein has remained passionately dedicated to continually honing her artistry and musicianship across the extensive breadth of J.S. Bach’s body of work for solo piano and collaborative performances. The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” Baroklyn merges Dinnerstein’s appreciation for musical collaboration with musical leadership, as Dinnerstein both founded the ensemble and conducts the group from the piano.

Of bringing a collaborative performance with Baroklyn to the Gogue Performing Arts Center and illuminating the iconic music of J.S. Bach:

”I am so excited to bring the principal members of Baroklyn to Auburn and the Gogue Performing Arts Center. Every one of these musicians is a superlative musician, and they bring individual personality and life to every voice of Bach’s intricate counterpoint.”

Simone Dinnerstein has played with orchestras ranging from the New York Philharmonic and the Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, the Seoul Arts Center and the Sydney Opera House.

She has made thirteen albums, all of which topped the Billboard classical charts, with repertoire ranging from Couperin to Glass. From 2020 to 2022, she released a trilogy of albums recorded at her home in Brooklyn during the pandemic. A Character of Quiet (Orange Mountain Music, 2020), featuring the music of Philip Glass and Schubert, was described by NPR as, “music that speaks to a sense of the world slowing down,” and by The New Yorker as, “a reminder that quiet can contain multitudes.” Richard Danielpour’s An American Mosaic (Supertrain Records, 2021), surpassed two million streams on Apple Music and was nominated for a GRAMMY® Award in the category of Best Classical Instrumental Solo. The final installment in the trilogy, Undersong, was released in January 2022 on Orange Mountain Music.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.

For more information, please visit www.simonedinnerstein.com.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein –– who has gained recognition as both a proficient and imaginative performer of Bach’s music and is described by The New York Times as “an utterly distinctive voice in the forest of Bach interpretation” –– is presented in concert with Baroklyn. Dinnerstein is the Artistic Director of the ensemble, which she also conducts from the piano. The collaborative performance will feature an array of music by Baroque era icon, J.S. Bach, including two concertos and two sonatas.

Short description: Pianist Simone Dinnerstein, “an utterly distinctive voice in the forest of Bach interpretation” (The New York Times) is presented in a performance with Baroklyn, the chamber ensemble Dinnerstein conducts from the piano and of which she is the Artistic Director. Together they will perform the music of J.S. Bach.

Concert details:

Who: Pianist Simone Dinnerstein and Baroklyn
Presented by the Gogue Performing Arts Center
What: Music by J.S. Bach
When:Friday, April 5, 2024 at 7pm
Where: ​​Woltosz Theatre at Gogue Performing Arts Center, 910 South College Street, Auburn, AL
Tickets and information: www.goguecenter.auburn.edu/simone-dinnerstein-with-baroklyn/

April 19: GRAMMY®-nominated Pianist Simone Dinnerstein is Guest Soloist with Berkshire Symphony

Photo by Tanya Braganti available in high resolution at: www.jensenartists.com/artists-profiles/simone-dinnerstein

GRAMMY-nominated Pianist Simone Dinnerstein
Performs as Guest Soloist with the Berkshire Symphony

Featuring Brahms’ Piano Concerto No. 2 in B-Flat Major
Conducted by Music Director Ronald Feldman

Friday, April 19, 2024 at 7:30pm
Brooks-Rogers Recital Hall | 54 Chapin Hall Drive | Williamstown, MA
Free and Open to the Public - More Information

“colorful and idiosyncratic”
– The New York Times

www.simonedinnerstein.com

Williamstown, MA – On Friday, April 19, 2024, GRAMMY®-nominated pianist Simone Dinnerstein, described by The New Yorker as an artist of “lean, knowing, and unpretentious elegance,” will be the featured guest soloist with the Berkshire Symphony in a performance of Johannes Brahms’ Piano Concerto No. 2 in B-Flat Major. The concert will be held at Brooks-Rogers Recital Hall (54 Chapin Hall Drive) and will be conducted by Ronald Feldman –– his final performance as the Berkshire Symphony’s Music Director. A beloved guest artist of the Berkshire Symphony, Dinnerstein returns for the first time since 2015, to perform as part of a concert program that also features Brahms’ Symphony No. 2 in D Major. There will be a pre-concert talk with Ronald Feldman at 6:45pm in Brooks-Rogers Recital Hall. This event is free and open to the public. There are no reservations or ticketing.

The Washington Post has called Simone Dinnerstein “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

While Dinnerstein has come to be recognized and celebrated for her appreciation of music by J.S. Bach, she has also brought bold and expressive artistry to the work of Brahms in performances for over 10 years –– including the other of Brahms’ two piano concertos: No. 1 in D Minor, Op. 15. Brahms’ second piano concerto is a newer addition to her repertoire –– one which Dinnerstein has been excited to perform this season.

She says of performing Brahms’s second piano and getting to collaborate with Ronald Feldman and the Berkshire Symphony on an all-Brahms program:

“I am honored to join Ronny Feldman for his final concert as the beloved music director of the Berkshire Symphony. We last collaborated on Brahms’s First Piano Concerto for the reopening of the beautiful Chapin Hall and it will be a joy to collaborate on his Second piano concerto for this special event. Since he is also a fine cellist, I know that Ronny will bring a special sensitivity to this work, which so prominently features the cello in the gorgeous third movement. And it just so happens that Julian Müller will be playing principal cello in this performance. I’ve known Julian since he was a student of mine at the Mannes School of Music, and he is a member of my string ensemble, Baroklyn. It will be an added joy to play this work with him.”

About Simone Dinnerstein: American pianist Simone Dinnerstein first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made thirteen albums, all of which topped the Billboard charts. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy.

In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Piano Sonata No. 2. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera. Dinnerstein has also created her own ensemble, Baroklyn, which she directs. The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative. For more information, please visit www.simonedinnerstein.com.

About the Berkshire Symphony: The Berkshire Symphony is a 75-member symphonic orchestra comprising, in roughly equal proportions, Williams College music students, Williams music faculty members, and area professionals. The Symphony performs music by a range of composers, including Beethoven, Brahms, Haydn, Mozart, Schubert, Schumann, Tchaikovsky, Stravinsky, and Wagner. The Berkshire Symphony was founded in 1946 and is directed by Ronald Feldman.

For Calendar Editors:

Description: GRAMMY®-nominated pianist Simone Dinnerstein, described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity,” is the featured soloist with the Berkshire Symphony, conducted by Music Director Ronald Feldman. Dinnerstein will perform Johannes Brahms Piano Concerto No. 2. in B-flat Major. The concert will also include a performance of Brahms’ Symphony No. 2 in D Major. A pre-concert talk will be held at 6:45pm in Brooks-Rogers Recital Hall. This event is free and open to the public. There are no reservations or ticketing.

Short description: Pianist Simone Dinnerstein, “an artist of strikingly original ideas and irrefutable integrity” (The Washington Post) is the guest soloist with the Berkshire Symphony in Johannes Brahms’ Piano Concerto No. 2, led by Music Director Ronald Feldman. The concert will also include Brahms’ Symphony No. 2. There will be a pre-concert talk at 6:45pm in Brooks-Rogers Recital Hall. This event is free and open to the public.

Concert details:

Who: Pianist Simone Dinnerstein
Conducted by Music Director Ronald Feldman
Presented by the Berkshire Symphony
What: Music by Johannes Brahms
When: Friday, April 19, 2024 at 7:30pm, Pre-Concert Talk at 6:45pm
Where: Brooks-Rogers Recital Hall, 54 Chapin Hall Drive, Williamstown, MA 01267
Tickets and information: www.events.williams.edu/event/berkshire-symphony-62