Pianist Simone Dinnerstein makes her Telarc debut with Bach's Goldberg Variations which she recorded in March 2005 with GRAMMY Award winning producer Adam Abeshouse.
“This recording contains some of the most beautiful, sensitive, intelligent and manifestly sincere playing you're ever likely to hear.” --Piano
"An utterly distinctive voice in the forest of Bach interpretation, Ms. Dinnerstein brings her own pianistic expressivity to the “Goldberg” Variations, probing each variation as if it were something completely new." --Anne Midgette, New York Times
“This recording contains some of the most beautiful, sensitive, intelligent and manifestly sincere playing you're ever likely to hear.” --Piano
"An utterly distinctive voice in the forest of Bach interpretation, Ms. Dinnerstein brings her own pianistic expressivity to the “Goldberg” Variations, probing each variation as if it were something completely new." --Anne Midgette, New York Times
The Goldberg Variations Made New
"I'm as tough a sell as any...I seem to have imprinted on Gould's '55 disk. Nothing, not even Gould's more spacious 1981 revision could shake my allegiance. Until I turned on my radio and heard Variation 13 played in a way I'd never heard it played before: pensively, wistfully, with an ebb and flow as natural as breathing...
"In the dreamlike fugue state that Dinnerstein induces, Bach seems to be channeling the next 200 years of Western music...the spikiness of Prokofiev, the ripple and shimmer of Debussy...In Variations 3 and 13, one finds the nursery reverie of Schumann's Kinderszenen; in 19 and 30 a sense of beatitude, that brings to mind Berlioz's Enfance du Christ.
"Dinnerstein is a throwback to such high priestesses of music as Wanda Landowska and Myra Hess. Remember the name: You'll be hearing it often." --Evan Eisenberg, Slate
"I'm as tough a sell as any...I seem to have imprinted on Gould's '55 disk. Nothing, not even Gould's more spacious 1981 revision could shake my allegiance. Until I turned on my radio and heard Variation 13 played in a way I'd never heard it played before: pensively, wistfully, with an ebb and flow as natural as breathing...
"In the dreamlike fugue state that Dinnerstein induces, Bach seems to be channeling the next 200 years of Western music...the spikiness of Prokofiev, the ripple and shimmer of Debussy...In Variations 3 and 13, one finds the nursery reverie of Schumann's Kinderszenen; in 19 and 30 a sense of beatitude, that brings to mind Berlioz's Enfance du Christ.
"Dinnerstein is a throwback to such high priestesses of music as Wanda Landowska and Myra Hess. Remember the name: You'll be hearing it often." --Evan Eisenberg, Slate
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