Simone Dinnerstein: The Pianist Redefining Artistic Freedom & Personal Reinvention
Simone Dinnerstein
Simone Dinnerstein’s path as a pianist is one of determination, self-discovery, and an unshakable commitment to artistic integrity. Raised in Brooklyn, New York, she began playing piano at the age of seven and followed a traditional trajectory through Juilliard. But after graduating, her career took an unconventional turn. Without management or major competition wins, she spent years freelancing in New York, unsure of where her musical path would lead. Then, in her early thirties, she made a bold decision that would change everything—she decided to perform and record Bach’s Goldberg Variations.
Unable to secure a record deal, Dinnerstein took matters into her own hands, raising money to self-produce the recording. To her surprise, the project was picked up by Telarc Records, launching her into an international career almost overnight. “It was a late start,” she reflects. “But it set me on a path that was completely my own.” Released in 2007, the recording became a bestseller, establishing her as one of the foremost Bach interpreters of her generation. Now, nearly two decades later, Dinnerstein continues to chart an artistic course defined by personal conviction rather than industry norms.
One of the most pivotal moments in her life came before her recording breakthrough. Shortly after winning the audition that placed her on Astral Artists’ roster, she discovered she was expecting her first child. “I was terrified,” she admits. “I had just gotten this opportunity, and suddenly, everything felt uncertain.” Rather than putting music on hold, she embraced the moment—learning the Goldberg Variations while pregnant and performing them extensively after her son’s birth. By the time she entered the recording studio in 2005, she had honed a deeply personal interpretation of the work. “Those three days in the studio felt like everything aligned,” she recalls. “It was a turning point—not just professionally, but as an artist.”
Dinnerstein credits much of her artistic development to three pivotal teachers. Solomon Mikowsky, whom she studied with from age nine through high school, instilled in her the importance of individuality. “He let me be who I was,” she says. Later, Maria Curcio, a student of Artur Schnabel, completely reshaped her physical approach to the piano. “She changed my hands,” Dinnerstein notes, explaining how Curcio’s technique revolutionized her sound. Finally, at Juilliard, Peter Serkin introduced her to a deeply personal and idiosyncratic approach to music-making. “Each of them influenced me in profound ways,” she says.
Despite performing in the world’s great concert halls, one of Dinnerstein’s most memorable experiences happened in an unexpected setting—a small church in Brushy Creek, Texas. As part of a Piatigorsky Foundation tour, she played for a packed congregation, where the minister encouraged his audience to “open their ears and hearts” to the music. “I had never felt such a communal embrace,” she remembers. “They listened with such devotion, and it reminded me of music’s power to connect us.”
This season, Dinnerstein’s latest recording, The Eye is the First Circle, brings together elements of music, painting, and identity. The album, released in October, is a live recording of Charles Ives’ Concord Sonata, drawn from a larger multimedia project she conceived in collaboration with video artist Laurie Olinder and lighting designer Davison Scandrett. Inspired by a 14-foot triptych painted by her father, the project explores themes of memory, artistic lineage, and how we construct identity. “Ives was trying to capture transcendentalist thought through music,” she explains. “I was doing something similar—using music and visuals to make sense of my own world.”
The recording also carries deep personal significance as Dinnerstein’s final collaboration with Adam Abeshouse, her longtime producer, who passed away in October. “Adam recorded all 14 of my albums,” she says. “He always told me that Ives’ Concord Sonata was the Goldberg Variations of the 20th century. When he was dying, I knew this had to be our last project together.” The album, despite being a live performance with all its inherent risks, captures what she describes as “something magical” in its sound. “It was daunting to release, but I’m so grateful he was able to record it.”
As Dinnerstein reflects on the evolving landscape of classical music, she acknowledges the shifting nature of visibility and audience connection. “Back in 2007, self-producing an album was rare,” she notes. “Now, almost everyone does it.” The rise of streaming, social media, and digital platforms has changed the way musicians promote their work. “There’s less traditional media, fewer print reviews—but more opportunities for direct connection with audiences,” she explains. During the pandemic, she found an unexpected way to engage listeners: offering signed CDs with personalized photos. “People loved it,” she says. “It showed me how much audiences crave a personal link to artists.”
Looking ahead, Dinnerstein is focused on deepening her collaborative projects. Her ensemble, BaroqueLand, a conductorless string group she leads from the keyboard, has become a major artistic outlet. “I just recorded an all-Bach album with them, and I want to explore that direction further,” she shares. Leading from the piano, a role she has taken on with chamber orchestras, is something she hopes to expand. Additionally, she has been experimenting with unconventional programming, including performing Keith Jarrett’s improvisations—a first for her. “I want to keep pushing myself out of my comfort zone,” she says.
Outside of music, Dinnerstein’s interests are just as distinctive. She jokingly claims that her secret talent is knowing exactly when her dog needs a walk—“I speak dog,” she laughs. If she weren’t a musician, she imagines herself as a radio broadcaster, having recently begun hosting episodes for WQXR’s Young Artists Showcase. “I think I could be the next John Schaefer,” she muses.
For Dinnerstein, success is not measured by prestige or external validation but by contentment and authenticity. “It’s about being happy in yourself,” she says. “If I can be grateful for the present moment, that’s success.” Through her recordings, performances, and ever-evolving projects, she continues to create art on her own terms—one that is deeply personal, profoundly expressive, and unmistakably her own.
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