Dinnerstein shines as both pianist and conductor with ProMusica

ProMusica Chamber Orchestra
Simone Dinnerstein, piano and leader
Southern Theatre
Columbus, OH
December 11, 2021

Bach: Keyboard Concerto No. 7 in G minor, BWV 1058
Bach: Erbarm’ dich mein, o Herre Gott, BWV 721 (arr. Lasser)
Bach: Orchestral Suite No. 2 in B minor, BWV 1067
Glass: Piano Concerto No. 3

Encore:
Glass: Etude No. 6

The spotlight shone on Simone Dinnerstein during this weekend’s ProMusica performances in which she served dual role as pianist and conductor. This was an event that was originally on the calendar a year ago, inevitably cancelled due to the pandemic – during which time Dinnerstein was involved in bringing to life Richard Danielpour’s monumental tribute to the heroes of the pandemic (see my interview with her on that project). Ever keen to draw out thoughtful connections between composers, Dinnerstein curated a poignant program comprised of Bach and Glass. It’s an inspired coupling, to be sure: Dinnerstein noted that Glass was intensely immersed in Bach during his studies with Nadia Boulanger, and moreover, one can draw parallels in the two composers’ musical languages, for instance, in their extensive use of motivic repetition.

Simone Dinnerstein with ProMusica Chamber Orchestra, photo credit ProMusica

Bach’s Keyboard Concerto No. 7 in G minor is a reworking of his Violin Concerto in A minor, transposed down a tone to better suit the harpsichord used at the time. Dinnerstein purveyed a seamless, flowing playing, leading the orchestra – just as the composer would have done – as if an extension of herself. The vigor of the opening movement offered little respite until the central Andante, a lovely moment, delicate and carefully judged. A crisp contrapuntal vigor opened the finale, and Dinnerstein’s stylish playing, punctuated by rippling chains of sixteenth notes, made full use of the resources of the modern concert grand.

The chorale prelude Erbarm’ dich mein, o Herre Gott was presented in a transcription for piano and strings, an arrangement made for Dinnerstein by Philip Lasser – a composer with whom she has had numerous collaborations. Much was said in the work’s brief duration. The resonant reserves of the piano were tastefully aided and abetted by the strings, yielding a touching gravitas, and matters built to a stentorian climax.

The Orchestral Suite No. 2 in B minor followed without break, allowing the previous work to function quite literally as a prelude. It’s a well-known quantity, but Dinnerstein heightened one’s interest by imbuing the work with her own individual stamp and making subtle alterations to the score, for instance, adding some pizzicatos and playing an octave higher in certain places. The overture opened in stately fashion, with its dotted rhythms sharply delineated. Dinnerstein offered a lively and incisive continuo (along with cellist Marc Moskovitz) while adeptly directing her orchestral colleagues – and it was quite striking hearing a modern piano rather than harpsichord play the role. A contrasting series of dances ensued, among them, a languid sarabande, a lively bourée, and a regal polonaise. The suite culminated in the much-loved badinerie, bringing principal flute Nadine Hur front and center. Her rapid-fire playing made for an exhilarating close.

Philip Glass dedicated his 2017 Piano Concerto No. 3 to Dinnerstein – indeed, half the works on the program were written with Dinnerstein in mind. He intended the work to be paired with the Bach concerto that opened the program (as it also is on her recording of the work). The work opened with a meditative solo statement from the pianist, instantly recognizable as coming from Glass’ pen. This was music deeply lyrical and affecting, showing minimalism not as just a cold experiment but an aesthetic that can have a real heart to it. The last movement made perhaps the strongest impression. Written for fellow minimalist Arvo Pärt (though both composers have resisted such labeling), it opened with a monastic done in the bass, alluding to the Estonian’s idiosyncratic use of bell-like textures. This gesture was repeated incessantly yet purposefully, eventually fading away into the ether. As an encore, Dinnerstein offered Glass’ Etude No. 6, a fitting pendant to the concerto, and her reading was as dramatic as it was mesmerizing.

Post-concert Q&A with Dinnerstein and WOSU’s Boyce Lancaster