Simone Dinnerstein: Broadway-Lafayette (CD review)

Music of Ravel, Lasser, and Gershwin. Simone Dinnerstein, piano; Kristjan Jarvi, MDR Leipzig Radio Symphony Orchestra. Sony Classical 88875032452.

This is another of those kind of, sort of theme albums, the producers telling us that "the music on this album celebrates the time-honored transatlantic link between France and America through the music of three composers--George Gershwin, Maurice Ravel and Philip Lasser." It suggest also "the French-American connection as the Marquis de Lafayette and his French troops helped the American colonists out against the British during the American Revolution." OK, a tenuous link if you ask me, but it's awfully good music and well handled by American pianist Simone Dinnerstein, conductor Kristjan Jarvi (another in the musical Jarvi family, son of conductor Neeme Jarvi and brother of conductor Paavo Jarvi), and the MDR Leipzig Radio Symphony Orchestra.

The program opens with the Piano Concerto in G major by French composer Maurice Ravel (1875-1937). The Concerto has always struck me as one of Ravel's most-imaginative works, full of jazzy bustle one moment and the tenderest grace the next. It's done up not only in Ravel's usual impressionist style but most expressive as well, and unless the pianist is careful the piece can appear merely as a series of clamorous rants and dreamy allusions. One past master of taming this sometimes unwieldy beast was Arturo Benedetti Michelangeli, who in a 1957 recording for EMI (now Warners) showed how beautifully crystalline and elegant the music could sound. Now, Ms. Dinnerstein gives it a shot, and she, too, finds joy in the work.

Dinnerstein emphasizes the jazz element in the first movement, perhaps to show the work's connection to Gershwin all the better. Yet she keeps it fairly light and atmospheric, too, never making the music appear too showy. Does it fully capture Michelangeli's magic? No, but it's close. Ms. Dinnerstein does even better in the touching second-movement Adagio assai, which embraces a sweet, Chopin-like quality. In the final Presto, Dinnerstein fully engages the composer's blazing technical displays, yet also manages to find some respite along the way. If the whole is still not quite so coherent as Michelangeli's account, it is nevertheless satisfying, with good support from Maestro Jarvi and the MDR orchestra.

Simone Dinnerstein
Next, we find the Concerto for Piano and Orchestra "The Circle and the Child" by American composer and pianist Philip Lasser (b. 1963). Lasser's work, composed in 2012 especially for Ms. Dinnerstein and here receiving its premiere recording, is a different sort of animal from the others on the program. Lasser says of the concerto that it "speaks of memory, inner voyage and closeness," the circle "a powerful metaphor for life." Fair enough, if fairly vague and ambiguous. He uses as the basis for his composition a Bach chorale, and the piece does possess a delightfully melodious nature. Like most modern music, though, it doesn't rely too heavily on memorable tunes, relying mostly on creating mood, which Dinnerstein provides nicely, along with the orchestra's continual reinforcement.

Things close with the perennial favorite Rhapsody in Blue by American composer George Gershwin (1898-1937). In Gershwin it's hard for me not to think of Bernstein's classic recording for Columbia (now Sony) or Previn's (EMI) or Gershwin's own, reworked by Tilson-Thomas (Sony). Still, Ms. Dinnerstein puts her own stamp on the piece and makes the music a bit more tender than we usually hear it, a bit milder and gentler, though still filled with dazzling finger work. While I wouldn't call it as energetic an approach as the ones mentioned above, it's an interpretation that's easy to live with, and it reveals a sensitive side to Gershwin that is most flattering.

Adam Abeshouse produced and engineered the album, recording it at the MDR Orchestersaal, Leipzig, Germany in July 2014. The sound is warm and smooth, with no rough or jagged edges in sight. Nor have the engineers recorded it too close up; instead, it has a moderate distance involved, making it sound all the more realistic (if at the expense of sounding a trifle soft). Ultimate transparency, therefore, is only so-so, yet that's the case with many concert-hall performances, so one can hardly complain. Figuring into the equation a mild resonance as well, let's just say the sound is pleasingly comfortable.

JJP

To listen to a brief excerpt from this album, click here:


Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

Contact Information

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa