{"id":10462,"date":"2011-01-25T11:22:07","date_gmt":"2011-01-25T16:22:07","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=10462"},"modified":"2014-02-04T16:00:46","modified_gmt":"2014-02-04T21:00:46","slug":"the-dinnerstein-variations","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2011\/01\/25\/the-dinnerstein-variations\/","title":{"rendered":"The Dinnerstein Variations"},"content":{"rendered":"

The startling success story of pianist Simone Dinnerstein.<\/em><\/p>\n

\"\"

Photograph by Lisa Marie Mazzucco.<\/p><\/div>\n

Earlier this month, pianist Simone Dinnerstein celebrated her latest album, Bach, A Strange Beauty<\/em>, with a six-hour-long release party in her parents\u2019 Park Slope brownstone. She set her iPod to shuffle, and at the end of the evening, as the final few guests made their way out the door, her own recording of Bach\u2019s Goldberg Variations<\/em> came on. \u201cI hadn\u2019t listened to it in years,\u201d she said, \u201cI hadn\u2019t even realized how much I had changed.\u201d <\/p>\n

The Goldberg Variations<\/em> marked a turning point in Dinnerstein\u2019s life story, the classical-music world\u2019s rags-to-riches tale that\u2019s by now familiar to many fans. Less than a decade ago, with her chances at a high-octane concert career looking dim, she had started to settle into a life in Brooklyn, a career of smaller-scale concerts, teaching, and performances in nursing homes and prisons. The discovery that she was pregnant with her son inspired Dinnerstein to work privately on the Variations<\/em> as a way to mark his arrival. She went on to raise money from friends and family and recorded the piece herself, a decision that took some guts, given the many canonical recordings of Bach\u2019s epic work out there (joined now by a pretty hilarious rendition of the aria by Stephen Dorff in Sofia Coppola\u2019s Somewhere<\/em>). <\/p>\n

Improbably, Dinnerstein\u2019s performance became the top-selling classical album of 2007, at one point even reaching number four on Amazon\u2019s record sales for all genres. Her success is particularly startling when you consider the number of household-name classical pianists who either won a major competition or grew up in the spotlight as child prodigies. But Dinnerstein\u2019s playing is one of a kind. The intense conviction she communicates is so arresting that, for me, hearing her rendition of a piece makes it impossible to imagine it performed any other way. (Classical musicians often refer to the importance of playing \u201cwith conviction\u201d; or as my pianist friend\u2019s formidable Russian teacher would often say, \u201cMy dear, you must be convicted<\/em> of every note.\u201d) <\/p>\n

Obviously, not everyone loves Dinnerstein\u2019s playing, and some fault her Bach for being stylistically incorrect. \u201cI guess I don\u2019t think about appropriateness of style,\u201d she says. \u201cMaybe there\u2019s some kind of chip missing in my brain about this, because I just never have been able to understand these problems that people have with interpretation.\u201d <\/p>\n

Even as her touring career grows more hectic, Dinnerstein continues to organize neighborhood concerts at Brooklyn\u2019s P.S. 321 and the Lower East Side\u2019s P.S. 142. Proceeds benefit the school\u2019s students. The New York Post<\/em> said of her series, \u201cBrooklyn has its own certifiable mini\u2013Carnegie Hall\u201d; as it turns out, Brooklyn\u2019s version of Carnegie Hall has wooden fold-out seats and glass vitrines showcasing garbage converted into art projects, as well as Martin Luther King quotes in the form of fabric banners. It\u2019s also not uncommon for concert-goers to be accidentally smacked several times in the face by the sleeve of a fluorescent \u201ci-Grow\u201d jacket (as I was). The most recent concert in the series featured harpist Bridget Kibbey and drew a full house, with nearly two kids for every adult. Simone had come fully prepared for her K\u20135 demographic. When introducing the program, she invited anyone who couldn\u2019t sit still to leave the room, \u201cbut only during the breaks.\u201d Paper and markers awaited in the lobby. <\/p>\n

The liner notes for her latest album (which hit stores last week) include a reproduction of a triptych by Simone\u2019s father, the painter Simon Dinnerstein. It\u2019s clear that she grew up influenced by visual art: Even as her lyrical playing style most often seems to model the voice, its pacing and breaths, she seems nearly as frequently to relish subverting it, whether with a series of abrupt color changes or with a long phrase that gains in power where a voice would taper out. In those moments, her decisions start to resemble painting as much as singing. <\/p>\n

\u201cAs a child,\u201d she says, \u201cwhen I played for my father, he would say \u2018I don\u2019t hear the line.\u2019 And he isn\u2019t a musician, but he\u2019d always be right.\u201d<\/p>\n

Meanwhile, Dinnerstein\u2019s son, whose limbic system apparently developed to the sounds of the Goldberg Variations<\/em>, now studies acoustic guitar. \u201cI think we both felt it would be better if he did a different instrument,\u201d she says. \u201cHe\u2019s been able to teach me about it, which is a nice thing for him to have that power\u2014to own the music.\u201d Dinnerstein herself has been listening to singer-songwriter Tift Merritt (with whom she collaborates), as well as Nick Drake, Leonard Cohen, and the Avett brothers. <\/p>\n

When it comes to making connections across genres and disciplines, she\u2019s clearly game. The title of her latest album, Bach: A Strange Beauty<\/em>, is from Francis Bacon: \u201cThere is no excellent beauty that hath not some strangeness in proportion.\u201d And then, after recently reading Ian McEwan\u2019s Saturday<\/em>, she arrived at the theory that McEwan wrote his book in the form of the Goldberg Variations<\/em>. \u201cI was, like, counting the sections,\u201d she says. \u201cThere are the episodes, and there\u2019s a kind of peak, and then there\u2019s a return to the opening scene. Before the book starts, there\u2019s a quote, and at the end there\u2019s a poem. It feels to me like having the aria on either side.\u201d She laughs: \u201cMy friend thinks I should write to McEwan about this.\u201d <\/p>\n

Dawn Chan is the assistant editor of <\/em>Artforum.com<\/a>.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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