Bach: A Strange Beauty

Simone Dinnerstein (Artist), Johann Sebastian Bach (Composer) | Format: Audio CD

Product Details

• Composer: Johann Sebastian Bach
• Audio CD (January 18, 2011)
• Number of Discs: 1
• Label: SONY CLASSICS
• ASIN: B004DURSDK
• In-Print Editions: MP3 Music
• Average Customer Review: 3.9 out of 5 stars  See all reviews (24 customer reviews)
• Amazon Best Sellers Rank: #11,116 in Music (See Top 100 in Music)

Editorial Reviews

Simone Dinnerstein's first recording for Sony Classical, BACH: A STRANGE BEAUTY, has the critically-acclaimed pianist returning to Bach,this time combining three transcriptions of his Chorale Preludes, with one of his English Suites and two of his Keyboard Concerti, again revealing her intense and expressive playing style, as well as her individual approach to Bach's music.

Most Helpful Customer Reviews

50 of 58 people found the following review helpful

5.0 out of 5 stars An Emotionally Riveting, Most Expressive Bach Courtesy of Simone Dinnerstein January 22, 2011

By John Kwok HALL OF FAMEVINE™ VOICE

Format:Audio CD

Hearing Simone Dinnerstein playing Bach is an experience that's almost quite unlike any other I have heard, either live, or in recent recordings. While many have tended to emphasize the more formal, more analytical, aspects of Bach's scores, here Dinnerstein succeeds most admirably in exploring Bach's expressive side, or rather, to quote the album title, "Bach: A Strange Beauty", which she does in compelling performances ranging from transcriptions of organ chorales (e. g. Ich ruf zu Dir, Herr Jesu Christ BWV 639, arr. Busoni, the album's opening track) to solo keyboard works (e. g. English Suite in G Minor BWV 808), and finally, with the two keyboard concerti (Keyboard Concerto No. 5 in F Minor BWV 808; Keyboard Concerto No. 1 in D Minor BWV 1052) played with ample expressiveness from her and the period instrument practice-informed Kammerorchester Staatskapelle Berlin. The most cantabile Bach scores are those of the organ chorale transcriptions, especially the BWV 639.

If there is one unifying theme to Dinnerstein's expressive playing, it is the consistent joie de vivre one feels for each of the Bach pieces, emphasizing the strong emotional as well as analytical aspects of Bach's scores. Those who greatly enjoyed her critically and commercially acclaimed "Goldberg Variations" recording will find much to admire here from a fine young pianist who is the daughter and niece of two of our finest American painters (She does devote ample time in discussing her personal artistic connections to her father's work in the extensive liner notes, as well as explaining why she isn't interested in adhering to a period performance practice style. On a personal note, I am well aware that her uncle is a great painter in his own right, having been fortunate to attend high school with one of her uncle's children, and through that relative, becoming familiar with some of his father's work.). But even if you haven't heard Dinnerstein's Bach before, then this great recording should convince you that she is among our most exciting, and most compelling, interpreters of Bach. This is definitely a most auspicious debut from Simone Dinnerstein on her new label Sony, and one that promises substantially more compelling performances from one of our most unique, most distinctive, classical pianists.

31 of 39 people found the following review helpful

5.0 out of 5 stars Worth Waiting For! January 18, 2011

By Grady Harp HALL OF FAMETOP 50 REVIEWERVINE™ VOICE

Format:Audio CD

Simone Dinnerstein's newest recording has been circulating among the cognoscenti for a while now and finally it has been released. It is a complete pleasure. Aptly titled BACH: A STRANGE BEAUTY, the Cd includes Keyboard Concerti Nos. 1 BWV 1052 and No. 5 BWV 1056 which she performs with the Kammerorchester Staatskapelle Berlin, the English Suite No 3 BWV 808, and three choral transcriptions for keyboard alone. Not to be outdone with the display of technical facility she offered in her Goldberg Variations recording, here Dinnerstein is drawn more to the elegant and gently Bach. Her touch is rich and full as is well suited to these works. There are high points, such as the Largo movement from the Concerto No. 5 - as richly romantic as Bach can be played (!), and the choral transcriptions are refreshingly elegant. The entire recoding is very well produced and there is not a disappointing aspect of this project by an artist who commands our respect. Highly recommended! Grady Harp, January 11

24 of 31 people found the following review helpful

5.0 out of 5 stars Bach, and no nonsense - except perhaps for the title of the CD January 29, 2011

By Steen Mencke

Format:Audio CD

A big fan of the art of Simone Dinnerstein I have been waiting impatiently for a new issue to follow her superlative Berlin recital. Yet, "Oh, oh" - I thought when I saw the front cover: "A Strange Beauty - written in, what appears to be, chocolate; not an auspicious way to describe works by Bach, the Einstein of classical music. Somebody has been got at by the marketing mafia - "Simone Dinnerstein plays Bach" is no longer good enough, curiosity must now be lured by an ambiguous, quasi-nonsensical heading. Sic transit gloria mundi!" So it was with a mixture of anticipation and dread that I put this disc in my player and pushed the button.

Fortunately my fear was thoroughly put to shame. Luckily Simone is still Simone - and Bach is still Bach, and the peculiar title of the album probably(?) allures to the fact that the mixture of works on this disc is a bit of a "męlée étrange": two keyboard concertos with an interposed English suite, all devided by piano transcriptions of two organ chorals and a cantata part. Truly a menu of contrasts; one could imagine that heartburn was soon to follow, and I am still not sure it is a juxtaposition I would recommend, if my advice was sought. Still, it is certainly novel - if not exactly true to form.

Moving on to what a review should be all about - the performance and the artistic impression - Simone Dinnerstein's Bach once again proves a treat for sore ears. The opening number "Ich ruf' zu dir, Herr Jesu Christ" is a dark and ominous piece that unavoidably leaves one poised for serious business, and the three main courses - each in its own way - follow the example. In the concertos there is always an atmosphere of lightheartedness, but at regular intervals Dinnerstein seems to almost pause and say: "Is this really supposed to funny?" Personally, I think the answer is: probably not overly much - and what I hear I certainly like! For Mercurial lightness of touch Dinnerstein will never be a new Perahia (but then again, why should she; we already got one of those), and she lends the concertos - and the suite (in G minor - also not the brightest key on the instrument) as well - a gravitas that is most wellcome. The slightly sinister Sarabande becomes a meditation on loss (my personal reading, of course), and even the presto finish of "Nun freut euch ihr lieben Christen" is closer in atmosphere to breathless panic at closing time than fleetfooted merriment. The solemn "Jesu, bleibet meine Freude" - always a benediction, and since Lipatti also a valediction - becomes a deeply moving exeunt, played with a transfigured clarity I thought went out of style and died decades ago. Expect a two hanky experience.

All in all - Dinnerstein is back with a vengeance. Buy this album and hear Bach as I doubt Bach ever did - but may well (would, I'm sure) have tipped his hat to.

One final caveat: the recorded sound is a tad fuzzy and murderously heavy on the bass. If you do not possess stereo equipment with regulation for treble and bass - the forecast for the day is fog and thunder. SONY - please, read this and weep!