“this is a romantic approach, with a limpid, legato touch in many of the
Inventions. There is a dynamic rise and fall which emphasises the shape
of phrases, and there is a vocal clarity to the contrapuntal strands
which keeps us soundly on message for the most part...In the end, most
of these performances are very good indeed on their own, but only your
individual taste will dictate if you respond to Dinnerstein’s approach.”
--MusicWeb International, 28th March 2014
“An utterly distinctive voice in the forest of Bach interpretation” --The New York Times
“An utterly distinctive voice in the forest of Bach interpretation” --The New York Times
Bach’s Inventions and Sinfonias (commonly known as the 3-part
Inventions) are the foundation of keyboard students’ study. Likewise
most musicologists will study part of the Inventions at some stage of
their theoretical education. Simone is keen to reach young students,
their parents and musicologists, in addition to her usual fan base and
plans a series of short videos on a selection of the inventions to
connect with this audience.
Simone Dinnerstein 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. An 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 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. An 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.”
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