June 5: Simone Dinnerstein Makes Label Debut on Naïve in Hourglass - Music by Philip Glass - with Baroklyn
June 5: Simone Dinnerstein Makes Label Debut on Naïve in Hourglass - Music by Philip Glass - with Baroklyn
Simone Dinnerstein Makes Label Debut on Naïve in Hourglass with Baroklyn
Featuring Philip Glass’s Suite from The Hours and Tirol Concerto for Piano and Orchestra
Release Date: June 5, 2026
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First Single – The Hours – Out Today
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Review downloads & CDs available upon request.
“it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding” – The Washington Post
simonedinnerstein.com | naiverecords.com
March 19, 2026 – On June 5, 2026, GRAMMY-nominated American pianist Simone Dinnerstein, one of the most distinctive voices in classical music today, releases her first album on naïve since signing with the label earlier this year. Titled Hourglass, it features Philip Glass’s Suite from The Hours and his Tirol Concerto for Piano and Orchestra (Piano Concerto No. 1). The album, recorded with Dinnerstein’s own ensemble Baroklyn, is another milestone in her close artistic association with the renowned composer, who celebrates his 90th birthday in January 2027. The first single, The Hours, is out today.
Simone Dinnerstein first came to wider public attention in 2007 through her recording of J.S. Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly personal. This approach extends to all of the repertoire she performs, from Bach to Glass, with whom she has collaborated for over ten years. Glass wrote his Piano Concerto No. 3 for Dinnerstein in 2017, co-commissioned by twelve orchestras from across North America. She recorded and released it the following year on her acclaimed album Circles. NPR reported, “Dinnerstein's creamy tone and elastic phrasing gives the music an air of Schubertian warmth and wistfulness.”
Dinnerstein says, “In my reading of the works on this album with Baroklyn, we focused on the larger beats. Instead of lining up each single step, we wanted every voice to have its own ebb and flow, coinciding with other voices in certain larger pulse divisions. This allows us to hear the particular phrasing of the voices more independently, and brings out the strangeness in the music. The goal was to create a whole, but a whole made up of all the distinctive particularities of the individual lines and musicians.”
Philip Glass’s Suite from The Hours (arranged by Michael Riesman) is a three-movement piano concerto taken from Glass’s film score for Stephen Daldry’s film The Hours starring Nicole Kidman, Julianne Moore, and Meryl Streep, an adaptation of the novel by Michael Cunningham. The score received Golden Globe, GRAMMY, and Academy Award nominations, along with winning a British Academy Film Award in Film Music. It is a veritable manifesto of Glass’s expressive simplicity, in which layers and motifs are inconstant, subtly transform, and give rise to a richly wrought polyphonic universe. In this recording, Baroklyn’s expansive phrasing and serene assurance, and Dinnerstein’s intense sonority, combine to highlight the music’s almost Classical elegance, as if it were a newly discovered Mozart concerto.
Glass’s Tirol Concerto, composed in 2000, went unperformed in New York for more than 20 years until Dinnerstein’s performance of the work with the Brooklyn Orchestra and Olivier Glissant in November 2023. Two brief, fleeting movements in neo-Baroque vein enclose a broad elegy—music for an imagined film—threaded with numerous reminiscences of Glass’s Etudes for piano, which he began writing in 1994. Glass based the concerto on melody fragments of traditional Austrian Volkslied, or folk music, in the Tyrolean tradition. Dinnerstein says of the piece, “The second movement of the Tirol is what first drew me to it. Built almost as a set of variations, the sound is lush and pulsating, and its mood relates to his Symphony No. 3 for strings. I love the play between intense lyricism and a feeling of austerity, so reminiscent of Schubert’s writing.”
Dinnerstein recorded Hourglass with the ensemble that she founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, her home New York borough). She describes the ensemble as “a community that shares the artistic vision that is most important to me, that music should be creative and new. We avoid ‘fixing’ our interpretations, to keep the music from becoming static. We have a plan, but are open to the moment. This way of making music is dependent upon listening, openness to change, and trust. It results in a feeling of togetherness.”
Dinnerstein sees a natural affinity between the music of Philip Glass and that of J.S. Bach in their deeply polyphonic visions, quest for the absolute independence of each line, and an abiding concern for the singing quality of musical phrases.
She says:
“When I think about the music of Philip Glass, I think about time. The music is intricate and polyphonic. It’s layered, with patterns that keep shifting in the subtlest of ways. Though the harmonies are clearly important in the musical narrative, Glass’s music is multi-linear in a way that evokes the music of Bach. It is music on the horizontal, as opposed to the vertical. If anything, it is circular music. . .
Glass’s music is famously known for its repetitions. Every repetition is a reaction to the one before and an anticipation of one to come. We hear differently because our hearing changes with each note—we carry the whole unfolding of the music with us as we listen. We hear it as a constant becoming, not as a set of musical facts. This is exactly why I don’t hear Glass’s music as mechanical. It makes me think about the hourglass rather than the factory clock. A clock divides time into discrete, measured steps, in a way that in many parts of contemporary life feels natural. In music we can feel a vestige of the unnaturalness of that relentless pulse, an unhuman rigidity. Like our experience of time, music sometimes seems to move faster, sometimes slower, sometimes chaotically, sometimes evenly. The hourglass, with its unsubdivided and embodied flow, is how I think of this music.”
Since her recording of the Goldberg Variations, in addition to establishing a busy performing career, Simone Dinnerstein has made fourteen albums—all of which have topped the Billboard classical charts. She 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.
About Simone Dinnerstein: www.simonedinnerstein.com
Track List & Credits:
Hourglass
Release Date: June 5, 2026 | naïve
Music by Philip Glass | Simone Dinnerstein, director and piano | Baroklyn
Suite from The Hours (2002)
1. I [11:17]
2. II [8:59]
3. III [6:57]
Tirol Concerto for Piano and Orchestra (Piano Concerto No. 1) (2000)
4. Movement I [6:28]
5. Movement II [16:40]
6. Movement III [6:33]
Recording Producers: Silas Brown, Simone Dinnerstein
Sound Engineering: Silas Brown, Doron Schachter, Richie Clarke
Editing: Silas Brown, Simone Dinnerstein
Mixing and Mastering: Silas Brown (Legacy Sound)
Recorded at Merkin Hall, Kaufman Music Center, New York, NY, May 25-26, 2025
Summary: This album is the first release on naïve from American pianist Simone Dinnerstein, one of the most distinctive voices in classical music today. Recorded with Dinnerstein's own string ensemble, Baroklyn, it immerses listeners in the sound world of Philip Glass, continuing the GRAMMY-nominated pianist's close artistic association with renowned composer, and features his Suite from The Hours and Tirol Concerto.
Upcoming Performances:
March 21, 2026: Chandler Center for the Arts – Randolph, VT
March 27, 2026: University of Chicago – Chicago, IL
April 17, 2026: Carnegie Hall – New York, NY
April 25, 2026: St. Peter's Community Arts Academy – Geneva, NY
May 17, 2026: Sands Point Preserve Conservancy – Sands Point, NY
May 21, 2026: Concordia Chamber Players – Solebury, PA
May 27, 2026: Library of Congress – Washington, D.C.
June 9, 2026: Naumburg Orchestral Concerts, Central Park – New York, NY
June 13, 2026: Rockport Chamber Music Festival – Rockport, MA
June 14, 2026: Music Mountain Summer Festival – Falls Village, CT
June 25, 2026: Flagstaff Piano Festival – Flagstaff, AZ
June 30, 2026: Lyra Music – Beacon, NY
For details: www.simonedinnerstein.com/concerts-upcoming
March 27: GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections – A Concert Shaped by Musical Interconnection
March 27: GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections – A Concert Shaped by Musical Interconnection
GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections
A Concert Shaped by Musical Interconnection
Presented by UChicago Presents
Friday, March 27, 2026 at 7:30pm
Logan Center for the Arts | 915 E 60th St. | Chicago, IL
Tickets and More Information
“lean, knowing, and unpretentious elegance” – The New Yorker
Simone Dinnerstein: www.simonedinnerstein.com
Chicago, IL – GRAMMY®-nominated pianist Simone Dinnerstein, described as “a unique voice in the forest of Bach interpretation” by The New York Times, performs on Friday, March 27, 2026 at 7:30pm in a concert presented by UChicago Presents, the University of Chicago's professional concert series, in the Logan Center for the Arts (915 E 60th 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.
In May 2025, Simone Dinnerstein released her fifteenth recording, Complicité on Supertrain Records. This is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, Dinnerstein’s home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. Complicité reached over one million streams on Apple Music in its first two weeks after release. Read the album press release here.
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 personal. 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 Concord Sonata. She released her live recording of the premiere in October 2024 on Supertrain Records to coincide with Ives’s 150th birthday. The Eye is the First Circle also marked Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse. Dinnerstein 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 “a unique voice in the forest of Bach interpretation” by The New York Times, will perform a program of Baroque-era inspired works in a concert presented by the UChicago Presents – the University of Chicago's professional 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 UChicago Presents
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Friday, March 27, 2026 at 7:30pm
Where: Logan Center for the Performing Arts, 915 E 60th St, Chicago, IL 60637
Tickets and information: https://chicagopresents.uchicago.edu/concerts-and-events/simone-dinnerstein-piano
April 17: World Premiere at Carnegie Hall of A Call for the Battle to Cease by Robert & Victoria Sirota performed by GRAMMY-nominated Pianist Simone Dinnerstein & Cecilia Chorus of New York
April 17: World Premiere at Carnegie Hall of A Call for the Battle to Cease by Robert & Victoria Sirota performed by GRAMMY-nominated Pianist Simone Dinnerstein & Cecilia Chorus of New York
World Premiere of A Call for the Battle to Cease at Carnegie Hall
Music by Robert Sirota and Text by Victoria Sirota
Performed by GRAMMY®-Nominated Pianist Simone Dinnerstein
and The Cecilia Chorus of New York with Orchestra
Led by Music Director Mark Shapiro
Friday, April 17, 2026 at 8pm
Carnegie Hall | Stern Auditorium / Perelman Stage | 57th St. and 7th Ave. | NYC
Tickets: www.carnegiehall.org, 212.247.7800, or the Carnegie Hall Box Office
Tickets & More Information
Watch Here: Mark Shapiro and Simone Dinnerstein Talk About A Call for the Battle to Cease
Robert Sirota | Simone Dinnerstein | The Cecilia Chorus of New York
L- R Robert and Victoria Sirota, The Cecilia Cecilia Chorus of New York, Simone Dinnerstein
New York, NY – On Friday, April 17, 2026 at 8pm, A Call for the Battle to Cease –– composed by Robert Sirota with text by Victoria Sirota — will have its world premiere at Carnegie Hall
in Stern Auditorium / Perelman Stage (57th St. and 7th Ave.), performed by GRAMMY®-nominated pianist Simone Dinnerstein and The Cecilia Chorus of New York with Orchestra led by Music Director Mark Shapiro, joined by the Every Voice Choirs (EVC) Concert Choir. The concert also includes excerpts from Missa in tempore belli by Franz Joseph Haydn and the New York premiere of Mass in Exile by Mark Buller librettist Leah Lax. The program responds to today’s hunger for justice and peace with an uplifting vision of inspiration and compassion.
Although husband-and-wife team Robert Sirota (music) and Victoria Sirota (text) created A Call for the Battle to Cease a decade ago in 2016, the work was never played due to the commissioning ensemble unexpectedly ceasing operations before the premiere. The piece was always intended for the featured soloist, Simone Dinnerstein, to perform –– the Sirotas have known the celebrated Brooklyn-based pianist since her childhood.
The message of this major new composition feels even more poignant today. Robert Sirota describes how he and Victoria approached their respective work on the project: “[I] was tasked with using the same instrumentation as Beethoven’s Choral Fantasy –– solo piano, orchestra, and chorus. Victoria was tasked with writing a text which would address, in Beethovenian terms, the need for us to transcend the divisions of race, nationality, class and politics that tear at the fabric of our common humanity. What she came up with is stunning in its eloquent simplicity.”
Victoria Sirota’s text underscores the need to refocus on love, solidarity, and embracing differences. Robert Sirota says, “Expanded to incorporate youthful voices, A Call for the Battle to Cease comes across as even more achingly relevant to our current moment: ‘Rejoice in the gift of our differences!,’ The virtuosic piano solo begins with the actual ‘call,’ picked up later by brass. The piece moves from anger and anguish –– from hatred and fear, to a place of love and wonder, at times echoing Beethoven’s Choral Fantasy, and punctuated by the young people lifting their hearts to us; not a plea for mere tolerance or peaceful coexistence, but rather the triumphant assertion that it is our very diversity that gives joy and meaning to our lives together. Pianist Simone Dinnerstein ends the piece with the same ‘call,’ now presented as a question to us all: do we have the will to embrace this difficult world with love and hope?”
Robert Sirota has garnered distinction as composer, arranger, music executive and arts advocate. His chamber works have been performed by Alarm Will Sound; Sandbox Percussion; Yale Camerata; yMusic; the Chiara, American, Blair, and Telegraph Quartets; and in festivals including Tanglewood, Aspen, Yellow Barn, Cooperstown, and Bowdoin. Orchestral performances include the Seattle, Vermont, Virginia, East Texas, Lincoln (NE), Meridian (MS), New Haven, Greater Bridgeport, Oradea (Romania) and Saint Petersburg (Russia) symphonies, as well as conservatory orchestras of
Oberlin, Peabody, Manhattan School of Music, Toronto, and Singapore. Recent commissions include the Neave Trio, Judith Clurman/Essential Voices USA, Jeffrey Kahane/Sarasota Music Festival, Palladium Musicum, the Naumburg Foundation, and arrangements for Paul Simon. Recipient of grants from the Watson and Guggenheim Foundations, National Endowment for the Arts, Meet the Composer, and the American Music Center, Sirota’s works are recorded on the Capstone, Albany, New Voice, Gasparo and Crystal labels. For more information, visit https://www.robertsirota.com.
Victoria R. Sirota, Episcopal priest, organist and author, holds degrees from Oberlin Conservatory of Music, Boston University and Harvard Divinity School. She has taught at Yale Institute of Sacred Music, The Ecumenical Institute of Theology, Boston University and Concord Academy. Former National Chaplain for the American Guild of Organists and the Association of Anglican Musicians, she is the author of articles, reviews and texts for hymns, cantatas and song cycles. Recorded on Northeastern, Gasparo and Albany Records, her book Preaching to the Choir: Claiming the Role of Sacred Musician is available from Church Publishing. Honors include awards and grants from the Deutscher Akademischer Austauschdienst, The Newington-Cropsey Foundation, Woodrow Wilson Foundation and Episcopal Diocese of Maryland. The Rev. Canon Sirota has served in Baltimore and Yonkers, and at The Cathedral of Saint John the Divine in NYC. Active as a guest preacher and writer, she lives in Searsmont, Maine.
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 fifteen albums, all of which have topped the Billboard classical charts. The first fourteen were from Grammy-winning producer Adam Abeshouse. Her most recent recording Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. In recent years, Dinnerstein has created projects that express her broad musical interests, including world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, as well as the premiere performance of Richard Danielpour’s An American Mosaic, at Brooklyn’s Green-Wood Cemetery. Following her recording, Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S., performing in 11 concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. 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 Mark Shapiro: Six-time ASCAP Award-winner Mark Shapiro is active as a conductor of choruses, orchestras, and opera. He is Music Director of The Cecilia Chorus of New York, Artistic Director of Cantori New York, Principal Conductor of Marshall Opera, and Conductor Emeritus of The Prince Edward Island Symphony Orchestra, which he served as Music Director for a decade. Characterizing his leadership as “insightful,” The New York Times has praised his “virtuosity and assurance”; Opera News has noted his “superb pacing and great confidence.” Favorite venues include Carnegie Hall, Lincoln Center, Le Poisson Rouge, the Guggenheim and Rubin Museums, Charlottetown’s Confederation Centre of the Arts, and the amphitheater at Vaison-la-Romaine, France. Opera credits include five productions with Juilliard Vocal Arts and appearances with American Opera Projects, Center for Contemporary Opera, Encompass New Opera, Opera Company of Middlebury, and Underworld Opera, as well as the opera programs of Hofstra and Rutgers. Stage directors include Ed Berkeley, Mary Birnbaum, John Giampietro, Crystal Manich, Louisa Muller, and Emma Griffin. Shapiro has recorded for Albany, Arsis, Newport Classics, and PGM. His recording of Frank Martin’s oratorio Le vin herbé was an Opera News Editor’s Choice. An album of music by Philip Glass with Irish violinist Gregory Harrington and Shapiro conducting the Janacek Philharmonic was released in 2020. Radio appearances have included WQXR, WNYC, Minnesota Public Radio, and Sirius. Shapiro is represented by Encompass Arts. markshapiromusic.com
The Cecilia Chorus of New York is a widely recognized, diverse, multigenerational, mixed 150-member chorus that has been enriching New York's musical life since 1906. Each season the chorus performs two major concerts at Carnegie Hall and a third concert at another venue. Spanning five centuries, our imaginatively curated repertoire includes standard works, neglected gems, and exciting commissions. Membership by audition is open to all.
For Calendar Editors:
Concert details:
Who: GRAMMY®-Nominated Pianist Simone Dinnerstein, The Cecilia Chorus of New York with Orchestra, and Every Voice Choirs (EVC) Chorus
Presented by The Cecilia Chorus of New York
What: Excerpts from Missa in tempore belli by Franz Joseph Haydn, Mass in Exile by Mark Buller (NY Premiere) and A Call for the Battle to Cease by Robert Sirota (World Premiere)
When: Friday, April 17, 2026 at 8pm
Where: Stern Auditorium / Perelman Stage at Carnegie Hall, 57th St. and 7th Ave., New York, NY 10019
Tickets and information: https://www.carnegiehall.org/Calendar/2026/04/17/The-Cecilia-Chorus-of-New-York-with-Orchestra-0800PM
Description: On April 17, 2026, A Call for the Battle to Cease by composer Robert Sirota with text by Victoria Sirota, has its world premiere performance at Carnegie Hall in Stern Auditorium / Perlman Stage, presented by The Cecilia Chorus of New York. First composed in 2016, the message of the piece remains pertinent as ever, emphasizing the need to refocus on love, solidarity, and embracing differences. The performance features GRAMMY®-nominated pianist Simone Dinnerstein and The Cecilia Chorus of New York with Orchestra led by Music Director Mark Shapiro, joined by the Every Voice Choirs (EVC) Concert Choir.The program also includes Excerpts from Missa in tempore belli by Franz Joseph Haydn and the New York premiere Mass in Exile by Mark Buller.
Simone Dinnerstein Joins Management Roster of MKI Artists and Signs New Recording Contract with Naïve
Simone Dinnerstein Joins Management Roster of MKI Artists and Signs New Recording Contract with Naïve
Photo by Lisa-Marie Mazzucco available in high resolution here.
Simone Dinnerstein Joins Management Roster of MKI Artists and Signs New Recording Contract with Naïve
“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
simonedinnerstein.com | mkiartists.com | naiverecords.com
February 26, 2026 – Pianist Simone Dinnerstein, one of the most distinctive voices in classical music today, announces two major new partnerships: she has joined the esteemed roster of MKI Artists for management and has signed a new recording contract with the celebrated label naïve for future albums.
The GRAMMY-nominated pianist 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 personal. Dinnerstein is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.” This approach extends to all of the repertoire she performs, from J.S. Bach to Philip Glass. The Washington Post comments that “ultimately, it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.”
Since her recording of the Goldberg Variations, in addition to establishing a busy performing career, Simone Dinnerstein has made fourteen albums – all of which have topped the Billboard classical charts. She 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.
Of her new chapter with MKI Artists, Dinnerstein says, “I feel honored to join the wonderful roster of MKI Artists. John Zion and Alicia Horwitz have a strong commitment to the values that I hold most dear — artistic integrity, balance between life and music, and a mission to bring music of meaning to the community of music lovers. I am very excited to collaborate with them in developing my musical projects and dreams.”
“We are absolutely thrilled to welcome Simone Dinnerstein to MKI Artists,” say John Zion, President & CEO and Alicia Horwitz, Director of Artist Management and Booking. “Simone is a rare musician whose artistry combines intellectual depth, emotional honesty, and a profound sense of purpose. Her ability to connect meaningfully with audiences reflects the kind of thoughtful, enduring artistry we value deeply. It's an honor to partner with an artist of her integrity and vision, and we look forward to supporting the next chapter of her remarkable career.”
Of naïve’s new relationship with Dinnerstein, Aurélia Rippe, Head of A&R at naïve classique, says, “It is such an honor for our label to welcome Simone Dinnerstein for a new recording chapter. Simone has always spoken up with a truly personal artistic vision. Recognized ambassador of Bach and Philip Glass, Simone is passionate about sharing with the audience the way the score resonates deep in her soul — which she does with a unique sense of phrasing and harmonic balance. The generosity she shows in her artistic collaborations contributes to making her one of the most creative and sensitive figures of today's musical life. Warm welcome to naïve, dear Simone!”
Dinnerstein adds, “I'm at a point in my life where I am particularly inspired by collaborating with artists whose own work challenges me to be ever more creative. This is the case with my ensemble Baroklyn, A Far Cry, Philip Lasser and of course, more than ever, Philip Glass. I am so happy to have found a home with Pierre-Antoine, Aurélia, and indeed all of the wonderful, inventive team at naïve, with whom I will release the results of these inspiring collaborations.”
Simone Dinnerstein’s first fourteen albums were recorded with GRAMMY Award-winning producer Adam Abeshouse, and feature 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 2021 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. Dinnerstein’s latest recording, Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Dinnerstein founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, her home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. Complicité reached over one million streams on Apple Music in its first two weeks after release.
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 Concord Sonata. In 2024, she released The Eye Is the First Circle on Supertrain Records, coinciding with Ives’ 150th birthday. 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. She also premiered Philip Lasser’s The Circle and the Child, which he composed for her, with the Atlanta Symphony Orchestra and recorded it for Sony Classical. In New York, she regularly curates and performs on an innovative Bach series at the Miller Theatre, and she was an Artist-in-Residence at the Kaufman Music Center, where she mentored student musicians and performed Philip Glass’s The Hours and Tirol piano concerto with Baroklyn.
Simone Dinnerstein is committed to giving concerts in non-traditional venues and to audiences who don’t often hear classical music. For many years, she played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to the widespread dissemination of classical music. It was for the Piatigorsky Foundation that she gave the first piano recital in the Louisiana state prison system at the Avoyelles Correctional Center. She has also performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. From 2009-2020, Dinnerstein produced Neighborhood Classics, a concert series open to the public and hosted by New York City Public Schools to raise funds for their music education programs. She also created a program called Bachpacking during which she brought a digital keyboard to elementary school classrooms, helping young children get close to the music she loves. She is a committed supporter and proud alumna of Philadelphia’s Astral Artists, which supported young performers. She has served on the jury of the Leeds International Piano Competition, the Bach Competition Leipzig, the ARD International Music Competition, the Young Concert Artists Auditions, and the Hilton Head International Piano Competition. Dinnerstein is on the piano faculty of the Mannes School of Music and is a guest host of WQXR’s Young Artists Showcase.
Simone Dinnerstein counts herself fortunate to have studied with three unique artists: Solomon Mikowsky, Maria Curcio and Peter Serkin, very different musicians who shared the belief that playing the piano is a means to something greater. In a world where music is everywhere, she hopes that it can still be transformative.
Oct. 23-25: Pianist Simone Dinnerstein Performs Three Concerts in West Hartford, CT and Worcester, MA
Oct. 23-25: Pianist Simone Dinnerstein Performs Three Concerts in West Hartford, CT and Worcester, MA
Photo of Simone Dinnerstein and Baroklyn by Grayson Dantzic available in high resolution here.
GRAMMY®-Nominated Pianist Simone Dinnerstein
Performs Three Concerts in West Hartford, CT and Worcester, MA
October 23-25, 2025
Performing Music from New Bach Album Complicité
Celebrating the 100th Anniversary of the Library of Congress’s Concert Series
Thursday, October 23, 2025 at 7:30pm
Simone Dinnerstein and Baroklyn: Music from New Album Complicité
with CONCORA at the University of Hartford
Presented by the Richard P. Garmany Concert Series
Tickets & Information
Friday, October 24, 2025 at 8pm
Simone Dinnerstein and Baroklyn: Music from New Album Complicité
with Mezzo-Soprano Jennifer Johnson Cano & CONCORA at Mechanics Hall
Presented by Music Worcester as part of BACHtoberfest 2025
Tickets & Information
Saturday, October 25, 2025 at 8pm
Simone Dinnerstein and Cellist Alexis Pia Gerlach
Bach’s Sonatas for Viola da Gamba and Harpsichord and Inventions and Sinfonias at Mechanics Hall
Presented by Music Worcester as part of BACHtoberfest 2025
Tickets & Information
Complicité is Out Now on Supertrain Records
Listen to Simone Dinnerstein on NPR’s Morning Edition
Simone Dinnerstein: www.simonedinnerstein.com
Hartford, CT; Worcester, MA – GRAMMY®-nominated pianist Simone Dinnerstein – who is described by The Washington Post as “an artist of strikingly original ideas and irrefutable integrity” – will give three performances centered around the music of J.S. Bach on October 23, 24, and 25, 2025, presented by the Richard P. Garmany Concert Series at the University of Hartford (October 23) and by Music Worcester as part of BACHtoberfest 2025 (October 24 and 25).
On Thursday, October 23, 2025 at 7:30pm, Dinnerstein performs with Baroklyn – the string ensemble she founded and directs – in music from their new Bach album, Complicité, plus Bach’s Keyboard Concerto in E Major, BWV 1060. The concert will also feature CONCORA (Connecticut Choral Artists). The performance, presented by the Garmany Concert Series, will take place in Millard Auditorium at the University of Hartford (200 Bloomfield Ave., Hartford, CT). They will repeat the program as part of Music Worcester’s BACHtoberfest on Friday, October 24, 2025 at 8pm at Mechanics Hall (321 Main St., Worcester, MA). As part of both programs, Dinnerstein will be making her conducting debut, conducting Cantata BWV 9 and movements from Cantatas 99, 22, and 182 with CONCORA and Baroklyn.
With her longtime friend and musical colleague, cellist Alexis Pia Gerlach, Dinnerstein will also perform a second concert as part of Music Worcester’s BACHtoberfest at Mechanics Hall on Saturday, October 25, 2025 at 8pm. The program features Bach’s Sonatas for Viola da Gamba and Harpsichord and his Inventions and Sinfonias.
Simone Dinnerstein is well known for her distinctive musical voice and for her expressive performances of music by J.S. Bach. 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.”
Her new album with Baroklyn, Complicité, includes Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617; Bach’s Keyboard Concerto in E Major, BWV 1053; J.S. Bach: Der Leib war in der Erden, BWV 161 (arr. Simone Dinnerstein and Baroklyn); Bach’s Cantata 170, Vergnügte Ruh, beliebte Seelenlust with continuo realization by Philip Lasser, featuring mezzo-soprano Jennifer Johnson Cano; and In the Air, Lasser’s recomposition of Bach’s Air on the G String.
The deeply felt recording has been warmly received by listeners – Complicité has already been streamed over 1 million times. Gramophone describes Dinnerstein’s performance as “full of life, engagement and detail.” Of the new album, Textura writes: “Not only are the performances terrific, the music impresses for being more than faithful replications of existing scores but instead arresting re-imaginings that take Bach's pieces into dynamic new realms.” Read the album press release here and listen here.
Dinnerstein says of her group Baroklyn, “Baroklyn is a group of string players which I lead from the piano. We’re a community that shares the artistic vision that is most important to me, that music should be creative and new. Rehearsal is important to us, and I’ve been influenced by theater practice in which we listen to each other and pass musical ideas and phrases within the group. We rehearse and perform in a semi-circle around the piano and I rearrange parts to emphasize lines, voices and imitative qualities to create a sense of dialogue.” The ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough.
Coinciding with the album’s release, Dinnerstein spoke with NPR’s Morning Edition about the project, as well as about her experience with performance anxiety and the way that playing with the sheet music on an iPad has resolved this for her. Of her work with Baroklyn, she said, “It's like a sharing circle, and you hear everybody's individuality, their individual sound as it gets passed around.” Listen to the NPR interview here.
Simone Dinnerstein and Alexis Pia Gerlach are not only musical collaborators but also dear friends. “Alexis and I have been playing chamber music together since our tweens as students at the Manhattan School of Music Preparatory Division,” says Dinnerstein. “Playing with her feels like breathing.” For their October 25 concert, they will perform a program that includes Bach’s Sonatas for Viola da Gamba and Harpsichord, BWV 1027-1029; Inventions, BWV 772-786, and Sinfonias, BWV 787-801.
Dinnerstein recorded an album of Bach’s Inventions and Sinfonias in 2014 for Sony Classical. BBC Music Magazine described Dinnerstein’s performance on the album as: “stylish, crisply articulated.” She says, “The first keyboard pieces of Bach that I remember hearing were his Inventions, when I was nine years old. The music seemed impossibly expressive and virtuosic at the time, and wholly beyond my abilities. Here were two continuous and independent voices, neither of which was subservient to the other. Until then I had thought of music as melody and accompaniment. Instrumental training is as much a training in how to listen as in how to play. In the text that accompanies the Inventions, Bach calls them ‘an honest guide.’ His Inventions and Sinfonias are marvels in demonstrating just how potent counterpoint is as an aid to expression, and how powerful a cantabile voice can be when surrounded by contradiction and elaboration. These small masterpieces have snippets of dances in them, laments and celebrations, simplicity and complexity.”
Simone Dinnerstein served as Music Worcester's first Artist-In-Residence during its 2018-2019 season. During her residency she performed at beloved Worcester music venues including Mechanics Hall, The Hanover Theatre, and Tuckerman Hall as both a soloist and ensemble leader with groups including Pam Tanowitz Dance, A Far Cry, and The Havana Lyceum Orchestra. Additionally, she brought her "Bach-Packing" program to several of Worcester's public elementary schools throughout the season to work directly with students in the classroom. She was awarded the Key To The City by Worcester mayor Joe Petty in May of 2019 following the completion of her Residency with Music Worcester.
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 fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with 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. Her most recent recording Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String.
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 Concord Sonata. 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.
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.
Oct. 29: Pianist Simone Dinnerstein and Baroklyn Perform at the Library of Congress for 100th Anniversary of Concert Series
Oct. 29: Pianist Simone Dinnerstein and Baroklyn Perform at the Library of Congress for 100th Anniversary of Concert Series
Photo of Simone Dinnerstein and Baroklyn by Grayson Dantzic available in high resolution here.
GRAMMY®-Nominated Pianist Simone Dinnerstein
and Baroklyn with Mezzo-Soprano Jennifer Johnson Cano and Oboist Katherine Needleman
Presented by Library of Congress
Performing Music from New Bach Album Complicité
Celebrating the 100th Anniversary of the Library of Congress’s Concert Series
Wednesday, October 29, 2025 at 8pm
Thomas Jefferson Building - Coolidge Auditorium
10 1st Street SE | Washington D.C.
Tickets & Information
Complicité is Out Now on Supertrain Records
Listen to Simone Dinnerstein on NPR’s Morning Edition
Simone Dinnerstein: www.simonedinnerstein.com
New York, NY – On Wednesday, October 29, 2025 at 8pm, GRAMMY®-nominated pianist Simone Dinnerstein – described by The New York Times as “colorful and idiosyncratic” – performs with Baroklyn, the string ensemble she founded and directs, in music from their recent Bach album Complicité. Presented by Library of Congress in the Thomas Jefferson Building - Coolidge Auditorium (10 1st Street SE) Washington D.C., the concert also features mezzo-soprano Jennifer Johnson Cano and oboist Katherine Needleman with Dinnerstein and Baroklyn
Simone Dinnerstein is well known for her distinctive musical voice and for her expressive performances of music by J.S. Bach. 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.”
For her most recent performance at the Library of Congress in February 2024, Dinnerstein celebrated the 100th anniversary of George Gershwin’s Rhapsody in Blue with the U.S. Air Force Band. Her October 29 performance commemorates the centennial anniversary of the Library of Congress's Concert Series. In celebration of the milestone, Dinnerstein will begin the concert program performing a solo piano arrangement of Allein Gott in der Höh sei Ehr, the same chorale that opened the LOC’s concert series in October 1925, when it was performed on the organ. In a special letter to organist Lynnwood Farnam–the first musician to play in the Coolidge Auditorium–that the Library of Congress shared with Dinnerstein, the message describes an approach to programming that is very similar to that which Dinnerstein applies to her performances – thinking of a concert feeling like a "service" (as it's put in the letter), with one piece continuing into the next without applause. Dinnerstein and Baroklyn’s performance thoughtfully connects the concert series’ past with the present.
Letter from the Library of Congress written by Music Division Chief Carl Engel
Following the opening of the concert, the program will feature music from Complicité, including Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617; Bach’s Keyboard Concerto in E Major, BWV 1053; J.S. Bach: Der Leib war in der Erden, BWV 161 (arr. Simone 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.
The deeply felt recording has been warmly-received by listeners – Complicité has already been streamed over 1 million times. Gramophone describes Dinnerstein’s performance as “full of life, engagement and detail.” Of the new album, Textura writes: “Not only are the performances terrific, the music impresses for being more than faithful replications of existing scores but instead arresting re-imaginings that take Bach's pieces into dynamic new realms.” Read the album press release here and listen here.
Dinnerstein says of her group Baroklyn, “Baroklyn is a group of string players which I lead from the piano. We’re a community that shares the artistic vision that is most important to me, that music should be creative and new. Rehearsal is important to us, and I’ve been influenced by theater practice in which we listen to each other and pass musical ideas and phrases within the group. We rehearse and perform in a semi-circle around the piano and I rearrange parts to emphasize lines, voices and imitative qualities to create a sense of dialogue.” The ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough.
Coinciding with the album’s release, Dinnerstein spoke with NPR’s Morning Edition about the project, as well as about her experience with performance anxiety and the way that playing with the sheet music on an iPad has resolved this for her. Of her work with Baroklyn, she said, “It's like a sharing circle, and you hear everybody's individuality, their individual sound as it gets passed around.” Listen to the NPR interview here.
Of the album’s 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.”
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 fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with 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. Her most recent recording Complicité
(Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String.
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 Concord Sonata. 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.
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 performs with mezzo-soprano Jennifer Johnson Cano, oboist Katherine Needleman, and Baroklyn – the string ensemble Dinnerstein founded and directs – are presented in concert by the Library of Congress. The performance will open with an arrangement of Allein Gott in der Höh sei Ehr, the same chorale that opened the LOC’s concert series in October 1925, commemorating the centennial anniversary of the series. The program will also feature music by J.S. Bach and Philip Lasser from Complicité, Dinnerstein and Baroklyn’s new Bach album.
Concert details:
Who: Pianist Simone Dinnerstein with Baroklyn, Mezzo-soprano Jennifer Johnson Cano, and Oboist Katherine Needleman
Presented by the Library of Congress
What: Music from Dinnerstein’s new Bach album Complicité and an arrangement of Allein Gott in der Höh sei Ehr, celebrating the centennial anniversary of the LOC’s Concert Series
When: Wednesday, October 29, 2025 at 8pm
Where: Thomas Jefferson Building - Coolidge Auditorium (LJG45E), 10 1st Street SE, Washington, DC 20540
Tickets and Information: loc.gov/item/event-417408/simone-dinnerstein-jennifer-johnson-cano-katherine-needleman-and-baroklyn/2025-10-29/
Oct. 4: Announcing The Birch Festival 2025 Fall Edition Featuring Pianist Simone Dinnerstein, Cellist Alexis Pia Gerlach, and Violinist Yevgeny Kutik
Announcing The Birch Festival 2025 Fall Edition
Clockwise: Simone Dinnerstein, Alexis Pia Gerlach, and Yevgeny Kutik
The Birch Festival: Fall Edition 2025
Bach, Mozart, and More
October 4, 2025
Yevgeny Kutik, Artistic Director & Rachel Barker, Executive Director
Featured Performance:
Pianist Simone Dinnerstein, Cellist Alexis Pia Gerlach, and Violinist Yevgeny Kutik
Saturday, October 4, 2025 at 3pm
First Congregational Church Stockbridge | 4 Main Street | Stockbridge, MA
Tickets and Registration Information: www.thebirchfestival.org
Stockbridge, MA — The Birch Festival welcomes the fall season in the Berkshires with a wonderful day of camaraderie and music in Stockbridge, MA on Saturday, October 4, 2025. Kicking off its third season, The Birch Festival presents a thrilling performance featuring guest artist and GRAMMY®-nominated pianist Simone Dinnerstein and acclaimed cellist Alexis Pia Gerlach, performing with The Birch Festival Artistic Director and Co-Founder violinist Yevgeny Kutik, on Saturday, October 4, 2025 at 3pm at First Congregational Church Stockbridge (4 Main Street). Berkshire County Students and a guardian may attend the concert for free. Also on October 4 at 10am, audiences are invited to the “Don’t Tap on the Glass” open rehearsal, which offers a free, behind-the-scenes look at the finer work that goes into preparing for the afternoon’s main event.
Dinnerstein, Gerlach, and Kutik’s featured concert on October 4 spotlights three composers who have each made substantial marks in the classical canon – J.S. Bach, W.A. Mozart, and Philip Glass. Simone Dinnerstein and Alexis Pia Gerlach will give a rare performance of all three of J.S. Bach’s Viola da Gamba Sonatas, to be performed on cello and piano.. Written in the 1740s, these works are gems of the chamber repertoire and it is uncommon to hear them presented together as part of a single concert program. Yevgeny Kutik will join Dinnerstein for W.A. Mozart’s Sonata in E minor for Violin and Piano, K. 304. Written in Paris in 1778 shortly after the death of Mozart’s mother, the Sonata is an introspective and vulnerably beautiful work. Dinnerstein closes the program with a solo performance of Mad Rush by the iconic Philip Glass. Mad Rush was composed in 1978, originally on and for the organ at New York City’s Cathedral of St. John the Divine. Dinnerstein recorded Mad Rush as part of her 2022 album Undersong, which San Francisco Classical Voice praised for its “dreamy musing on the spatial quality of Glass’ music.”
Birch Festival Artistic Director Yevgeny Kutik says, “We are thrilled to launch the third season of The Birch Festival with a program that reflects what we strive to share with our community: beauty, dialogue, and discovery. To bring Simone Dinnerstein – one of today’s most imaginative interpreters – together with the wonderful Alexia Pia Gerlach for all three of Bach’s Viola da Gamba Sonatas is a rare and awesome occasion. With the addition of Mozart’s profoundly personal E minor Sonata this program celebrates how far we’ve come in three years while offering audiences a richly soulful and inspiring program.”
The Birch Festival was founded in 2022 by Lenox-based husband-and-wife team Yevgeny Kutik, an internationally renowned violinist who serves as Artistic Director, and Rachel Barker, who is the non-profit organization’s Executive Director. The Birch Festival promotes and propels distinct voices in music, whether through new composition or creative interpretation of old favorites. It offers leading musicians a chance to play and establish relationships in the Berkshires, while recognizing the importance of their work by offering compensation that sustains and values their efforts in this industry. The Birch Festival’s mission is to bring world-leading musicians for artist residencies in Berkshire County schools, and work in tandem with local business and cultural partnerships. Kutik, a Belarusian-Jewish refugee resettled in Pittsfield by the Jewish Federation in the 1990s, named the festival for his grandmother Sima Berezkina, whose last name means “birch tree.” With significance in many global cultures, birch trees symbolize growth, resilience, and adaptability – qualities that Sima embodied.
The Birch Festival’s Fall 2025 Schedule:
“Don’t Tap on the Glass” Open Rehearsal
Saturday, October 4, 2025 at 10am
First Congregational Church Stockbridge (4 Main Street; Stockbridge, MA 01262)
Free and open to the public, registration required. (Tickets limited)
The Birch Festival welcomes the community of the Berkshires to enjoy a morning preview of the festival’s featured concert at its “Don’t Tap on the Glass” open rehearsal at First Congregational Church Stockbridge. Registration required.
The Birch Festival Featured Performance: Bach, Mozart, and Philip Glass
Sunday, October 4, 2025 at 3pm
First Congregational Church Stockbridge (4 Main Street; Stockbridge, MA 01262)
Tickets: www.thebirchfestival.org
Pianist Simone Dinnerstein and cellist Alexis Pia Gerlach, along with violinist and Birch Festival Artistic Director and Co-Founder Yevgeny Kutik, will perform a concert showcasing the music of classical icons, J.S. Bach, W.A. Mozart, and Philip Glass. Berkshire County Students and a guardian may attend for free.
About the Artists & Festival Directors:
About Yevgeny Kutik: With a “dark-hued tone and razor-sharp technique” (The New York Times), violinist Yevgeny Kutik has captivated audiences worldwide with an old-world sound that communicates a modern intellect. Praised for his technical precision and virtuosity, he is lauded for his poetic and imaginative interpretations of both standard works and newly composed repertoire. A native of Minsk, Belarus, Kutik began violin studies with his mother, Alla Zernitskaya, and immigrated to the U.S. with his family at the age of five. An advocate for the Jewish Federations of North America, the organization that assisted his family in coming to the US, he regularly speaks and performs across the country to promote the assistance of refugees from around the world. Kutik’s discography, all on Marquis Classics, includes The Death of Juliet and Other Tales (2021), Meditations on Family (Marquis Classics 2019), Words Fail (2016), Music from the Suitcase (2014), and Sounds of Defiance (2012). Committed to the music of our time, Kutik regularly gives premiere and repeat performances of major works by today’s most celebrated composers. For more information, please visit www.yevgenykutik.com.
About Rachel Barker: Rachel Barker is an educator and writer. Barker has been awarded spots in writers workshops for both nonfiction and fiction, including the Key West Literary Seminar, the Aspen Institute's Aspen Summer Words, and multiple residencies with Write On, Door County. She has consulted and presented for a number of organizations throughout the country, including the Yale Council for African Studies, Flint Institute of Music, Boston University's African Studies Center, Primary Source, and the Wayland/Weston Interfaith Council on Teaching Religion in Schools. Rachel Barker’s MEd. is from Boston College, where she graduated with a focus on social justice and teaching English language learners. Her undergraduate degree in Anthropology is from Boston University, and she currently studies Religion at Harvard University.
About Simone Dinnerstein: American pianist 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 fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with 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. Her most recent recording Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. 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 Alexis Pia Gerlach: Cellist Alexis Pia Gerlach has been lauded by the press for the "gripping emotion" and "powerful artistry" of her interpretations; qualities which have led to a career striking for its wide range of artistic collaborations. She has appeared extensively in recitals and as a soloist with orchestras across the United States, as well as in Europe, Asia, the Middle East and South America, with such conductors as Mstislav Rostropovich, James DePreist and Peter Oundjian. Her recording with pianist Fabio Bidini of the Franck and Rachmaninoff Sonatas is released on the Encore Performance label. As a sought-after chamber musician she performs at major festivals including Marlboro, Aspen, Bridgehampton, La Musica di Asolo and Caramoor, where she is a Texaco Rising Star, and as a guest artist with the Chamber Music Society of Lincoln Center. She has played extensively with Musicians from Marlboro, on both national and international tours. As a founding member of Concertante, a string sextet based in New York City, Gerlach performs on major concert series throughout North America, and has toured Asia and the Middle East. Concertante’s recordings of the string sextet repertoire have been met with critical acclaim.
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Oct. 21: Pianist Simone Dinnerstein and Baroklyn Perform Music from New Album Complicité – Presented by Kaufman Music Center
Oct. 21: Pianist Simone Dinnerstein and Baroklyn Perform Music from New Album Complicité – Presented by Kaufman Music Center
Photo of Simone Dinnerstein and Baroklyn by Grayson Dantzic available in high resolution here.
GRAMMY®-Nominated Pianist Simone Dinnerstein
and Baroklyn with Mezzo-Soprano Jennifer Johnson Cano and Oboist Katherine Needleman
Performing the Music of New Bach Album Complicité
Presented by Kaufman Music Center
Tuesday, October 21, 2025 at 7:30pm
Merkin Hall at Kaufman Music Center | 129 West 67th Street | New York, NY
Tickets & Information
Complicité is Out Now on Supertrain Records
Listen to Simone Dinnerstein on NPR’s Morning Edition
Simone Dinnerstein: www.simonedinnerstein.com
New York, NY – On Tuesday, October 21, 2025 at 7:30pm, GRAMMY®-nominated pianist Simone Dinnerstein – described by The New York Times as “colorful and idiosyncratic” – performs with Baroklyn, the string ensemble she founded and directs, the music of their recent album Complicité, presented by Kaufman Music Center (KMC) at Merkin Hall (129 W. 67th St.) as part of KMC’s Piano Dialogues series. The concert also features mezzo-soprano Jennifer Johnson Cano and oboist Katherine Needleman with Dinnerstein and Baroklyn.
Simone Dinnerstein is well known for her distinctive musical voice and for her expressive performances of music by J.S. Bach. 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.”
Both the new album, Complicité, and the upcoming concert at KMC include Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617; Bach’s Keyboard Concerto in E Major, BWV 1053; J.S. Bach: Der Leib war in der Erden, BWV 161 (arr. Simone 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.
The deeply felt recording has been warmly-received by listeners – Complicité has already been streamed over 1 million times. Gramophone describes Dinnerstein’s performance as “full of life, engagement and detail.” Of the new album, Textura writes: “Not only are the performances terrific, the music impresses for being more than faithful replications of existing scores but instead arresting re-imaginings that take Bach's pieces into dynamic new realms.” Read the album press release here and listen here.
Dinnerstein says of her group Baroklyn, “Baroklyn is a group of string players which I lead from the piano. We’re a community that shares the artistic vision that is most important to me, that music should be creative and new. Rehearsal is important to us, and I’ve been influenced by theater practice in which we listen to each other and pass musical ideas and phrases within the group. We rehearse and perform in a semi-circle around the piano and I rearrange parts to emphasize lines, voices and imitative qualities to create a sense of dialogue.” The ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough.
Coinciding with the album’s release, Dinnerstein spoke with NPR’s Morning Edition about the project, as well as about her experience with performance anxiety and the way that playing with the sheet music on an iPad has resolved this for her. Of her work with Baroklyn, she said, “It's like a sharing circle, and you hear everybody's individuality, their individual sound as it gets passed around.” Listen to the NPR interview here.
Of the album’s 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.”
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 fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with 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. Her most recent recording Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String.
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 Concord Sonata. 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.
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 performs with mezzo-soprano Jennifer Johnson Cano, oboist Katherine Needleman, and Baroklyn – the string ensemble Dinnerstein founded and directs – as part of Kaufman Music Center’s Piano Dialogues series. The concert will feature music by J.S. Bach and Philip Lasser from Dinnerstein’s new album Complicité.
Concert details:
Who: Pianist Simone Dinnerstein with Baroklyn, Mezzo-soprano Jennifer Johnson Cano and Oboist Katherine Needleman
What: Music from Dinnerstein’s New Bach Album Complicité
When: Tuesday, October 21, 2025 at 7:30pm
Where: Merkin Hall at Kaufmann Music Center, 129 West 67th Street, New York, NY 10023
Tickets and Information: https://www.kaufmanmusiccenter.org/mch/event/simone-dinnerstein-with-baroklyn
Aug. 24: Pianist Simone Dinnerstein Presented by New Marlborough Meeting House – Performing Music of J.S. Bach, Philip Glass, and Keith Jarrett
Aug. 24: Pianist Simone Dinnerstein Presented by New Marlborough Meeting House – Performing Music of J.S. Bach, Philip Glass, and Keith Jarrett
GRAMMY®-Nominated Pianist Simone Dinnerstein
Presented by New Marlborough Meeting House
Performing the Music of J.S. Bach, Philip Glass, and Keith Jarrett
Sunday, August 24, 2025 at 4:30PM
New Marlborough Meeting House
154 Hartsville-New Marlborough Road | New Marlborough, MA
Tickets and information
“a unique voice in the forest of Bach interpretation.” – The New York Times
Simone Dinnerstein: www.simonedinnerstein.com
New Marlborough, MA – GRAMMY®-nominated pianist Simone Dinnerstein will be presented in concert by New Marlborough Meeting House (154 Hartsville-New Marlborough Road) on Sunday, August 24, 2025 at 4:30pm. Dinnerstein, who is heralded for her distinctive musical voice and her commitment to sharing classical music with everyone, will perform J.S. Bach’s fifteen Inventions and Sinfonias, Philip Glass’s Etude No. 2, and Keith Jarrett’s Encore from Tokyo (transcribed by Uwe Karcher).
Simone Dinnerstein first gained widespread recognition in 2007 with her debut album featuring J.S. Bach's Goldberg Variations, and has since become increasingly celebrated for her interpretations of contemporary works, particularly those of Philip Glass. She has performed and recorded Glass's Piano Concerto No. 3, which the composer wrote specifically for her in 2017, and NPR Music praised her recording, noting that “Dinnerstein's creamy tone and elastic phrasing gives the music an air of Schubertian warmth and wistfulness.” Her New Marlborough program thoughtfully bridges centuries of keyboard music, beginning with Bach’s pedagogical masterworks. In his preface to his Sinfonias, Bach described these pieces as, “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.” The program moves from Bach to Glass's meditative Etude No. 2, and concludes with Keith Jarrett's Encore from Tokyo, which embraces Baroque conventions through a descending repeating bass line while building harmonically adventurous and wide-ranging improvisations around it.
Simone Dinnerstein recently released her newest album, Complicité – her first all-Bach recording in over ten years. Shortly after its release, it reached over 1 million streams on Apple Music. In addition to Dinnerstein, the album features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Dinnerstein founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, Dinnerstein’s home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. Read the full press release here.
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 Concord Sonata. She released her live recording of the premiere in October 2024 on Supertrain Records to coincide with Ives’s 150th birthday. The Eye is the First Circle also marked Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse. Dinnerstein 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, “a unique voice in the forest of Bach interpretation” (The New York Times) and a praised interpreter of Philip Glass, is presented in concert by New Marlborough Meeting House. Dinnerstein will perform a program featuring the music of J.S. Bach, Philip Glass, and Keith Jarrett.
Concert details:
Who: GRAMMY-nominated® Pianist Simone Dinnerstein
Presented by New Marlborough Meeting House
What: Music by J.S. Bach, Philip Glass, and Keith Jarrett
When: Sunday, August 24, 2025 at 4:30pm
Where: 154 Hartsville-New Marlborough Rd, New Marlborough, MA 01230
Tickets and information: nmmeetinghouse.org/music
Aug. 23: GRAMMY®-Nominated Pianist Simone Dinnerstein is Presented by Maverick Concerts as Soloist with Caroga Arts Ensemble Conducted by Alexander Platt
Aug. 23: GRAMMY®-Nominated Pianist Simone Dinnerstein is Presented by Maverick Concerts as Soloist with Caroga Arts Ensemble Conducted by Alexander Platt
GRAMMY®-Nominated Pianist Simone Dinnerstein is Featured Soloist with Caroga Arts Ensemble
Presented by Maverick Concerts
Performing Piano Concerto No. 3 by Philip Glass
Conducted by Alexander Platt and Directed by Kyle Price
Saturday, August 23, 2025 at 6pm
Maverick Concert Hall | 120 Maverick Rd | Woodstock, NY
Tickets and information
“an utterly distinctive voice in the forest of Bach interpretation” – The New York Times
Simone Dinnerstein: www.simonedinnerstein.com
Woodstock, NY – Pianist Simone Dinnerstein is presented by Maverick Concerts at Maverick Concert Hall (120 Maverick Rd) on Saturday August 23, 2025 at 6pm. Dinnerstein, who is heralded for her distinctive musical voice and her commitment to sharing classical music with everyone, is the featured soloist with the Caroga Arts Ensemble, conducted by Alexander Platt and directed by Kyle Price, in a performance of Philip Glass’s Piano Concerto No. 3. The concert also includes Igor Stravinsky’s Concerto in D for Strings (“Basle”), Robert Manno’s Adagio for Strings, and Benjamin Britten’s Variations on a Theme of Frank Bridge.
Simone Dinnerstein is well known for her distinctive musical voice and increasingly so for her interpretations of music by Philip Glass. She has performed and recorded Glass’s Piano Concerto No. 3, which he wrote for her in 2017, co-commissioned by twelve orchestras. NPR Music reported of her recording of the piece, “Dinnerstein's creamy tone and elastic phrasing gives the music an air of Schubertian warmth and wistfulness.” She is deeply familiar with this concerto, having performed the work over fifty times, all around the world, from Havana, Cuba to London, England.
On returning to perform with Alexander Platt and Caroga Arts Ensemble, Dinnerstein says:
“It is always such a wonderful experience to play in the Maverick’s very special space. It is a true community of devoted music and nature lovers. I am delighted to collaborate again with the fantastic musicians of the Caroga Arts Ensemble, on a work that is very meaningful to me.”
On May 30, 2025, Dinnerstein released her fifteenth recording, Complicité, on Supertrain Records. This is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, Dinnerstein’s home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. Shortly after its release, it reached over 1 million streams on Apple Music. Read the album press release here.
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 Concord Sonata. She released her live recording of the premiere in October 2024 on Supertrain Records to coincide with Ives’s 150th birthday. The Eye is the First Circle also marked Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse. Dinnerstein 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 York Times as “colorful and idiosyncratic,” is presented by Maverick Concerts as the featured soloist with the Caroga Arts Ensemble, conducted by Alexander Platt and directed by Kyle Price. Dinnerstein will perform Piano Concerto No. 3 by Philip Glass, which was composed for her. The concert also includes Igor Stravinsky’s Concerto in D for Strings, Robert Manno’s Adagio for Strings, and Benjamin Britten’s Variations on a Theme of Frank Bridge.
Concert details:
Who: Pianist Simone Dinnerstein and Caroga Arts Ensemble Conducted by Alexander Platt, Directed by Kyle Price
Presented by Maverick Concerts
What: Performing Philip Glass’s Concerto No. 3
When: Saturday, August 23, 2025 at 6pm
Where: Maverick Concert Hall, 120 Maverick Rd, Woodstock, NY
Tickets and information: www.maverickconcerts.org/event/maverick-chamber-orchestra-concert-with-simone-dinnerstein-piano-and-the-caroga-arts-ensemble-maverick-saturday-nights/
June 21: GRAMMY®-nominated Pianist Simone Dinnerstein Presented by Mohawk Trail Concerts Performing Reflections – A Concert Shaped by Musical Interconnection
June 21: GRAMMY®-nominated Pianist Simone Dinnerstein Presented by Mohawk Trail Concerts Performing Reflections – A Concert Shaped by Musical Interconnection
GRAMMY®-nominated Pianist Simone Dinnerstein
Performs Reflections
A Concert Shaped by Musical Interconnection
Presented by Mohawk Trail Concerts
Saturday, June 21, 2025 at 5pm
Charlemont Federated Church | 175 Main St. | Charlemont, MA
Tickets and More information
“lean, knowing, and unpretentious elegance” – The New Yorker
PLUS Dinnerstein and Baroklyn’s New Bach Album Complicité Out Now
Review downloads & CDs available upon request.
Simone Dinnerstein: www.simonedinnerstein.com
Charlemont, MA – GRAMMY®-nominated pianist Simone Dinnerstein, described by The Philadelphia Inquirer as “an intrepid artistic personality,” performs on Saturday, June 21, 2025 at Charlemont Federated Church (175 Main St.) presented by Mohawk Trail Concerts.
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.
On May 30, 2025, Dinnerstein released her fifteenth recording, Complicité on Supertrain Records. This is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, Dinnerstein’s home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String. Read the album press release here.
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 Concord Sonata. She released her live recording of the premiere in October 2024 on Supertrain Records to coincide with Ives’s 150th birthday. The Eye is the First Circle also marked Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse. Dinnerstein 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 Mohawk Trail Concerts. 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 Mohawk Trail Concerts
What: Reflections – Music by J.S. Bach, Philip Lasser, Keith Jarrett, Jean-Philippe Rameau
When: Saturday, January 21, 2025 at 5pm
Where: Charlemont Federated Church, 175 Main St., Charlemont, MA 01339
Tickets and information: www.mohawktrailconcerts.org/2024-season
May 12: GRAMMY®-Nominated Pianist Simone Dinnerstein and her Ensemble Baroklyn Perform First Ever All-Philip Glass Concert
May 12: GRAMMY®-Nominated Pianist Simone Dinnerstein and her Ensemble Baroklyn Perform First Ever All-Philip Glass Concert at Kaufman Music Center in NYC
Presented by Kaufman Music Center
Monday, May 12, 2025 at 7:30pm
Merkin Hall at Kaufman Music Center
129 West 67th Street | New York, NY
Tickets & Information
PLUS Dinnerstein & Baroklyn’s New Bach Album Complicité Out May 30
Review downloads and CDs available upon request
New York, NY – On Monday, May 12, 2025 at 7:30pm, GRAMMY®-nominated pianist Simone Dinnerstein, an Artist-in-Residence with the Kaufman Music Center (KMC) this season, performs her first ever all-Philip Glass concert at KMC’s Merkin Hall (129 West 67th St), as part of KMC’s Piano Dialogues series. Described by The New York Times as “colorful and idiosyncratic,” Dinnerstein will perform three works by the American minimalist master – Glass’s Mad Rush for solo piano, plus two concertos – Glass’s “Tirol” Piano Concerto (Piano Concerto No. 1) and – for the first time ever – his Suite from The Hours. Dinnerstein will perform the latter two works with Baroklyn, the string ensemble she founded and directs. (The ensemble’s name is a portmanteau of Baroque and Brooklyn, Dinnerstein’s home borough). As part of her residency at the Kaufman Music Center, Dinnerstein will also lead a performance of J.S. Bach’s keyboard concertos with young pianists from Kaufman’s Special Music School High School on May 22, 2025, and lead a performance of Philip Glass ‘s Etudes with Lucy Moses School students and faculty on June 8, 2025.
Simone Dinnerstein is well known for her distinctive musical voice and increasingly so for her interpretations of music by Philip Glass. She has performed and recorded his Piano Concerto No. 3, which Glass wrote for her in 2017, co-commissioned by twelve orchestras. NPR Music reported of her recording of the piece, “Dinnerstein's creamy tone and elastic phrasing gives the music an air of Schubertian warmth and wistfulness.”
Of what is particularly special about her string ensemble Baroklyn, Dinnerstein says: “We’re a community that shares the artistic vision that is most important to me – that music should be creative and new. Rehearsal is important to us, and I’ve been influenced by theater practice in which we listen to each other and pass musical ideas and phrases within the group.”
Dinnerstein and Baroklyn’s performance at Kaufman Music Center comes just before the May 30 release of their new album, Complicité, on Supertrain Records. This is Dinnerstein’s first recording with Baroklyn. The album features the music of J.S. Bach and Philip Lasser. Complicité includes Dinnerstein and Baroklyn’s arrangement of Bach’s chorale Herr Gott, nun schleuß den Himmel auf, BWV 617, Bach’s Keyboard Concerto in E Major, BWV 1053 and his chorale Der Leib war in der Erden, BWV 161 (also 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 the artistic vision that Dinnerstein and Baroklyn hold dear. Read the album press release here.
Dinnerstein and Baroklyn’s all-Glass program at Kaufman Music Center will also be recorded for future commercial release, following the concert.
Glass’s “Tirol” Piano Concerto, composed in 2000, went unperformed in New York for more than 20 years until Dinnerstein’s performance of the work with the Brooklyn Orchestra and Olivier Glissant in November 2023. Glass based the concerto on melody fragments of traditional Austrian Volkslied, or folk music, in the Tyrolean tradition. Dinnerstein says of the piece, “The second movement of the ‘Tirol’ is what first drew me to it. Built almost as a set of variations, the sound is lush and pulsating, and its mood relates to his Symphony No 3 for strings. I love the play between intense lyricism and a feeling of austerity, so reminiscent of Schubert’s writing.”
Glass’s Suite from The Hours is a three-movement piano concerto taken from his film score for Stephen Daldry’s film The Hours, an adaptation of the novel by Michael Cunningham. The score received Golden Globe, GRAMMY, and Academy Award nominations, along with winning a British Academy Film Award in Film Music.
Glass’s Mad Rush was originally composed for the organ at New York City’s Cathedral of St. John the Divine. Dinnerstein recorded the piece for her 2022 album Undersong (Orange Mountain Music). The Washington Post wrote of her interpretation, “The vast architecture of Glass’s Mad Rush was shot through with ever-changing light, creating a hypnotic effect with a delicate symbiosis of the physical and spiritual,” while NPR called it, “gorgeous, transportive.”
More 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 Concord Sonata. She released her live recording of the premiere in October 2024 on Supertrain Records to coincide with Ives’s 150th birthday. The Eye is the First Circle also marked Dinnerstein’s fourteenth and final recording produced with the late Adam Abeshouse. Dinnerstein 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, an Artist-in-Residence with the Kaufman Music Center (KMC) this season, performs an all-Philip Glass concert as part of KMC’s Piano Dialogues series. Described by The New York Times as “colorful and idiosyncratic,” Dinnerstein will perform three works by the American minimalist master – Glass’s Mad Rush for solo piano, plus two concertos with her string ensemble Baroklyn – Glass’s “Tirol” Piano Concerto (Piano Concerto No. 1) and, for the first time, his Suite from The Hours.
Concert details:
Who: Pianist Simone Dinnerstein Performs an All-Philip Glass Concert with her string ensemble Baroklyn
What: Philip Glass’s “Tirol” Piano Concerto, Mad Rush, and Suite from The Hours
When: Monday, May 12, 2025 at 7:30pm
Where: Merkin Hall at Kaufmann Music Center, 129 West 67th Street, New York, NY 10023
Tickets and information: https://www.kaufmanmusiccenter.org/mch/event/simone-dinnerstein-with-baroklyn
May 30: Simone Dinnerstein Releases Complicité - Music of J.S. Bach - First Single Out Today
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
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
GRAMMY®-nominated Pianist Simone Dinnerstein Performs Reflections, Presented by The Modlin Center for the Arts at University of 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
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
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
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
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
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/