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Editorial Reviews
Simone Dinnerstein's new album, Something Almost Being Said: Music of Bach and Schubert, combines J.S. Bach s Partitas Nos. 1 and 2, with Schubert's Four Impromptus, Op. 90, and was produced by Grammy Award winning producer, Adam Abeshouse. Dinnerstein says of her new album, "Bach and Schubert, to my ears, share a distinctive quality. Their non-vocal music has a powerful narrative, a vocal element. The effect is that of wordless voices singing textless melodies. Bach and Schubert s melodic lines are so fluent, so expressive, and so minutely inflected that they sound as though they might at any moment burst suddenly into speech." Inspired by lines from Philip Larkin s poem, The Trees, Simone Dinnerstein brings her own unique voice to Bach s first two Partitas and Schubert's Four Impromptus revealing the inherent vocal qualities in these instrumental works.
Customer Reviews
“ Her approach suits the Schubert Impromptus well and the sound and tone of her playing in all of these beautiful pieces is a delight. ”
Most Helpful Customer Reviews
30 of 34 people found the following review helpful
Format:Audio CD
There's no getting around this when assessing the work of New Yorker Simone (ci-Moan-uh) Dinnerstein: she divides critical and public opinion as much as any artist practicing today. Any concert of hers is more personal utterance than musical examination of the subjects at hand. With more classical music being recorded and released today than ever before, Dinnerstein has brought classical music to a new generation of listeners who see her work as a beacon through the increasing fog of classical music recordings. Now she brings to her fans two of Johann Sebastian Bach's most revered keyboard works and beloved miniatures from Franz Schubert.
Dinnerstein has many times demonstrated affinity for Bach, whose keyboard Partitas occupy territory similar to the piano sonatas of Ludwig van Beethoven. Comprised of a sequence of French dances, Bach's set (there are six of them that demonstrate varying degrees of emotional and intellectual qualities) are almost never played today in Baroque style. Players like Dinnerstein, who use modern pianos with large sustaining characteristics, ornament freely and use rubato to extreme as she has done in the lovely Sarabande of the Partita No. 1. Dinnerstein is marginally less personal and more mainstream in Franz Schubert's earlier set of impromptus; witness her shimmering brilliance of Schubert's fourth impromptu from the D. 899 set that sounds like many other pianists that have recorded this or both sets of Schubert's Impromptus.
While I was taken by her personalized style in her debut album, I am less enthused and convinced about her way in the two mighty Bach partitas included here. The Partita 2, in particular, is open to many forms of interpretation -- from Argerich's fire to Perahia's intellectualized legato to Gould's staccato and Tureck's humanity, the latter being my favorite of those I know. In a very crowded field, it's difficult to place Dinnerstein other than to say she seems more focused on deliberation for emotional reasons rather than to elucidate lines of counterpoint and more foucsed on the parts than the whole.
It is similar in the Partita 1 where, after her dance-like rhythm in the Corrente, she reverts to her slower, more personalized manner that seems to eschew any partiuclar school of playing. I'm pleased she takes repeats differently each time but, again, see her work in this music as more parts than a whole. Compare her Partita 1 to Maria Joăo Pires or Dubravka Tomsic, just to name two practitioners, to get an idea of the way Dinnerstein plays with the puzzle parts without putting it together to see the big picture. The other women play the music more aggressively, as well, and both put the score together, in my mind, better than Simone. I think Dinnerstein is better in the Schubert miniatures even though, like a lot of pianists that concentrate more on expression than technique, she doesn't exploit the possibility of contrast in these beauties.
Overall, Dinnerstein does not sway me, in part because I prefer pianism with greater technique than she exhibits. With that caveat, I'd say anyone looking for a new recording of either the Bach Partitas or the Schubert Impromptus will probably be more satisfied with current favorites than this one unless you seek a dreamy, sometimes hypnotic performance that de-emphasizes Bach's duelling hands counterpoint. This recording's great values are its low price, general availability, and contents that match Bach's Baroque genius to Schubert's early stream of Romantic consciousness. For fans of Simone Dinnerstein, I think this is a marvelous concert that may sway more classical music newcomers to examine it more fully.
Dinnerstein has many times demonstrated affinity for Bach, whose keyboard Partitas occupy territory similar to the piano sonatas of Ludwig van Beethoven. Comprised of a sequence of French dances, Bach's set (there are six of them that demonstrate varying degrees of emotional and intellectual qualities) are almost never played today in Baroque style. Players like Dinnerstein, who use modern pianos with large sustaining characteristics, ornament freely and use rubato to extreme as she has done in the lovely Sarabande of the Partita No. 1. Dinnerstein is marginally less personal and more mainstream in Franz Schubert's earlier set of impromptus; witness her shimmering brilliance of Schubert's fourth impromptu from the D. 899 set that sounds like many other pianists that have recorded this or both sets of Schubert's Impromptus.
While I was taken by her personalized style in her debut album, I am less enthused and convinced about her way in the two mighty Bach partitas included here. The Partita 2, in particular, is open to many forms of interpretation -- from Argerich's fire to Perahia's intellectualized legato to Gould's staccato and Tureck's humanity, the latter being my favorite of those I know. In a very crowded field, it's difficult to place Dinnerstein other than to say she seems more focused on deliberation for emotional reasons rather than to elucidate lines of counterpoint and more foucsed on the parts than the whole.
It is similar in the Partita 1 where, after her dance-like rhythm in the Corrente, she reverts to her slower, more personalized manner that seems to eschew any partiuclar school of playing. I'm pleased she takes repeats differently each time but, again, see her work in this music as more parts than a whole. Compare her Partita 1 to Maria Joăo Pires or Dubravka Tomsic, just to name two practitioners, to get an idea of the way Dinnerstein plays with the puzzle parts without putting it together to see the big picture. The other women play the music more aggressively, as well, and both put the score together, in my mind, better than Simone. I think Dinnerstein is better in the Schubert miniatures even though, like a lot of pianists that concentrate more on expression than technique, she doesn't exploit the possibility of contrast in these beauties.
Overall, Dinnerstein does not sway me, in part because I prefer pianism with greater technique than she exhibits. With that caveat, I'd say anyone looking for a new recording of either the Bach Partitas or the Schubert Impromptus will probably be more satisfied with current favorites than this one unless you seek a dreamy, sometimes hypnotic performance that de-emphasizes Bach's duelling hands counterpoint. This recording's great values are its low price, general availability, and contents that match Bach's Baroque genius to Schubert's early stream of Romantic consciousness. For fans of Simone Dinnerstein, I think this is a marvelous concert that may sway more classical music newcomers to examine it more fully.
18 of 23 people found the following review helpful
By Jimmy Hayes
Format:Audio CD|Amazon Verified Purchase
Ms. Dinnerstein's playing of the Schubert Op. 90 is great. She delivers thunder when it's needed and yet plays as delicately as a mourning dove almost in the same breath.
Her Bach continues to fascinate me. She plays Bach as uniquely as Glenn Gould did, but in a different direction. I have listened to these Partitas for years and yet her interpretation makes them sound nearly like new pieces, especially the C minor.
Some of the old hardliners might have an issue with the way she markets her CDs with photos of her everywhere either dreaming at the piano or gliding through the forest, but you know what? She's a doll and they can put all the photos of her they want on the disc cover. And if it helps sell more CDs I say good for her.
Her Bach continues to fascinate me. She plays Bach as uniquely as Glenn Gould did, but in a different direction. I have listened to these Partitas for years and yet her interpretation makes them sound nearly like new pieces, especially the C minor.
Some of the old hardliners might have an issue with the way she markets her CDs with photos of her everywhere either dreaming at the piano or gliding through the forest, but you know what? She's a doll and they can put all the photos of her they want on the disc cover. And if it helps sell more CDs I say good for her.
27 of 36 people found the following review helpful
By O.
Format:Audio CD|Amazon Verified Purchase
I just received the new Simone Dinnerstein album, "Something Almost Being Said". Thank you Amazon pre-ordering and prime shipping for presumably allowing me to be the first on my block to get it. I listened to it in the car on the way to and from work today and it is gorgeous. There are the Four Schubert Impromptus sandwiched in between 2 Bach Partitas. The Partitas are exquisite - every entering voice is articulated and all the voices are so well defined and phrased. They are superb. Ms Dinnerstein takes a slower tempo in the 1st and 2nd Impromptu, which I am still pondering, but what it does in the 1st Impromptu is give a big emotional punch to the phrase endings - you are on the edge of you seat at each phrase (which makes driving a tad tricky). It is meditational - pensive - quiet and reverential. The album is well named because what Ms. Dinnerstein achieves in all three pieces is an intimate conversation - a tęte-a-tęte between her, the composer and us, the audience. We are drawn into this conversation as we hear the voices of the fugues drift in and out or Schubert's arching, seemingly endless melodic phrases float over those gentle waves of accompaniment. This is a CD to listen to over and over - you will hear something new each time. I had the honor to hear Ms. Dinnerstein play the Goldberg Variations in Philadelphia a year ago and it leaves you breathless to see such towering intellectual achievement along with such finely tuned sensitivity and expressiveness. Thank you! Oh - and buy the physical CD - the poem and artwork in the notes are a joy.
Most Recent Customer Reviews
5.0 out of 5 stars
A New Discovery
I have only recently discovered the artistry of Simone Dinnerstein via her recent all-Bach album for Sony (the one with two keyboard concerti, an English Suite, and assorted... Read more
Published 1 month ago by Johannes Climacus
4.0 out of 5 stars
Talented
I heard Ms. Dinnerstein being interviewed and then ordered this CD. She is a talented, introspected, thoughtful performer who rewards the listener.
Published 3 months ago by Jack M. Averill
5.0 out of 5 stars
Superb Performances of Bach Partitas and Schubert Impromptus from...
"Something Almost Being Said: Music of Bach and Schubert", Simone Dinnerstein's latest recording for Sony Classical, is definitely an essential purchase for devoted fans of her... Read more
Published 7 months ago by John Kwok
1.0 out of 5 stars
Poor Packaging
I am sure the music is terrific if you buy it in a different format, but I chose the CD version which was packaged in a eco-friendly case which turned out to be not so friendly to... Read more
Published 7 months ago by K. Chan
5.0 out of 5 stars
Talented Pianist
Simone Dinnerstein is such a talented pianist and in this particular album her ability shines through in a manner that is quite simply beyond description.
Published 8 months ago by Mindi J.
2.0 out of 5 stars
painful
Listening to the Schubert Impromptus now, and boy are they tedious to bear. So slow and arch and superinflected with sighs and swoons at every turn (not really -- inaudible ones). Read more
Published 8 months ago by David R. Moran
4.0 out of 5 stars
An enjoyable disc
I like this disc, although I have my reservations about it. Simone Dinnerstein is an excellent pianist with excellent technique and a wonderful tone which is evident in her playing... Read more
Published 13 months ago by Sid Nuncius
1.0 out of 5 stars
Something Almost Being Played
I was VERY disappointed with this cd. She has quite the reputation but this recording makes me question why?? Read more
Published 14 months ago by R. Paulo
5.0 out of 5 stars
Oh - how beautiful!
This is the fourth time I've listened to Simone Dinnerstein playing Bach Partitias & Schubert Impromptus on the recent Sony cd, each time giving more pleasure than the previous... Read more
Published 14 months ago by Dr. John E. Spivey
5.0 out of 5 stars
A Must-have CD
I heard some Bach excerpts of this recording a few days prior to its release on a local public radio station, and fumbled for a pencil to write down the performer's name, and... Read more
Published 14 months ago by Mark T Purtill
