Simone Dinnerstein | The Eye is the First Circle Review

by Illiam Sebitz

Simone Dinnerstein is an artist known for her interpretive depth and unique approach to classical and modern repertoire. Her 2007 debut recording of Bach’s Goldberg Variations documented her aesthetic musicianship that was rooted in the score and performed in a personally emotive manner, earning her widespread acclaim as a distinctive voice in classical music. Over her expansive career, Dinnerstein has performed with prestigious orchestras such as the New York Philharmonic, the London Symphony Orchestra, and the Orchestra Sinfonica Nazionale Rai, gracing stages like Carnegie Hall, the Berlin Philharmonie, and the Sydney Opera House.

Dinnerstein’s latest project, The Eye is the First Circle, centers on Charles Ives’ Concord Sonata and was released on October 18, 2024, to coincide with Ives’ 150th birthday. This live recording captures the premiere of Dinnerstein’s multimedia production, integrating her father’s artwork as visual elements. The Eye is the First Circle is a testament to the extraordinary partnership between Dinnerstein and producer Adam Abeshouse, who passed away in October 2024. This album, their final collaboration, makes this a very personal exploration of Ives’s music. Abeshouse’s meticulous production and unwavering support were instrumental in shaping Dinnerstein’s career, and this album stands as a lasting legacy of their creative synergy. Through this album, Dinnerstein explores the evolution of identity, drawing inspiration from Emerson’s philosophical framework and resonating with Ives’ complex compositional style.

Charles Ives is a pioneering composer in American music, and the Concord Sonata is one of his signature works. Composed in a groundbreaking manner, the sonata features a non-linear structure, dissonant harmonies, extensive polyrhythms, and rich use of American hymnody, alongside direct quotations from iconic composers like Beethoven. It is a piece that embodies a reverence for tradition and an unflinching drive toward innovation.

The sonata is thematically unified by its dedication to transcendentalist authors—Ralph Waldo Emerson, Nathaniel Hawthorne, the Alcotts, and Henry David Thoreau. Each of the four movements reflects the essence of these figures, with Ives using a combination of dissonance, polyrhythmic, polytonal, and expansive harmonic textures to evoke their intellectual and emotional worlds. The thematic unity of the Concord Sonata mirrors the transcendentalist pursuit of truth, spiritual understanding, and the beauty of the human experience.

Ives’ compositional techniques, such as polyrhythms, tone clusters, and dissonance, present a challenge to both performer and listener. These elements embody the spirit of each transcendentalist he honors. Ives believed music should reflect both the personal and the collective, creating an experience that resonates beyond mere technicality.

Dinnerstein’s interpretation of the “Emerson” movement reflects Emerson’s philosophical ideals. Her dynamic control and nuanced emphasis on the composition’s chromatic theme beautifully capture the transcendentalist spirit. Dinnerstein skillfully navigates the movement’s complex polyrhythms and chromatics, maintaining their flow and clarity. Her expressive phrasing mirrors Emerson’s intellectual inquiry, inviting the listener into a musical world of philosophical depth.

In the “Hawthorne” movement, Dinnerstein reflects the darker, more subtle atmosphere inherent in Nathaniel Hawthorne’s writing. The movement’s opening, with ambient sounds like crickets and an owl hooting, sets a nocturnal, enigmatic tone. Dinnerstein uses shifting dynamics and phrase coloring to convey the moral ambiguity and dark undertones of Hawthorne’s narratives. Her articulation brings out the juxtaposition of light and shadow that defines this movement. The playful stride piano overtones in sections are performed with a spirited yet controlled expression, enhancing the movement’s dramatic contrasts and Ives’ influence from popular music of the time.

“The Alcotts” shows Dinnerstein’s ability to stunningly express the narrative arc of Ives’ writing, effectively conveying the idealism and warmth of the Alcott family. Her sensitive handling of Beethoven’s quoted material integrates seamlessly into the movement, creating a sense of nostalgia. Her dynamic shifts—from delicate pianissimos to thunderous fortissimos—capture the domestic warmth and philosophical aspirations associated with Bronson and Louisa May Alcott.

In “Thoreau,” Dinnerstein draws the listener into yet another musical soundscape, embodying the transcendentalist philosopher’s deep connection with nature. The movement opens with birdsongs, leading into Dinnerstein’s expressive interpretation of Ives’ intricate rhythmic figures and expansive melodic/harmonic constructions. She creates a vivid sense of place, using her technical gifts to evoke the tranquility and raw power of Walden Pond. Her phrasing captures the reflective solitude and pursuit of inner truth that defined Thoreau’s philosophy, blending with Ives’ demanding composition that has moments of serene beauty and clashing tensions.

Emerson’s essay ‘Circles’ is integral to the thematic framework of The Eye is the First Circle. It introduces the concept of identity as a continuous process of becoming—constantly expanding and evolving. Dinnerstein’s performance embodies this idea, transforming each movement into a new ‘circle’ that builds upon and extends the previous one. Through her dynamic interpretations, Dinnerstein illustrates the unfolding and evolving nature of Ives’s compositional style and the artist’s role in shaping and interpreting his creative works.

Ives’ tribute to the transcendentalists is expressed in the programmatic titles of each movement and in the boundary-pushing compositional techniques he employs. Dinnerstein’s interpretations emphasize each movement’s intellectual and spiritual quests, showcasing Ives’ use of unconventional harmonic language and rhythmic freedom. Her playing brings out the tension between the earthly and the ethereal—a fundamental characteristic of transcendentalism.

Dinnerstein’s technical mastery is evident throughout the album. Her control of tone, nuanced use of dynamics, refined pedaling technique, and handling of the polytonal and polyrhythmic aspects allow her to navigate the Concord Sonata’s intricate passages with remarkable clarity. Her ability to convey the grandeur of Ives’ richly layered compositions is excellent.

Dinnerstein approaches Ives’ polyrhythms and dissonances with a clever touch, ensuring coherence amidst the complexity. She highlights Ives’ use of polytonality with sensitivity, carefully balancing the often-dense harmonic textures. Her interpretation brings forth the vivid harmonic colors that emerge from the sonata’s dissonant clusters, offering listeners a window into Ives’ inventive musical mind.

Simone Dinnerstein’s The Eye is the First Circle is a compelling interpretation of Charles Ives’ Concord Sonata, blending technical brilliance, philosophical depth, and interdisciplinary artistry. Her thoughtful approach to Ives’ compositions will inspire listeners to experience the sonata with a fresh narrative through the universal exploration of identity. Her dedication to artistic exploration and ability to communicate the intellectual and emotional essence of Ives’ music make this album a powerful and enduring contribution to contemporary classical music.

Artist: Simone Dinnerstein
Album: The Eye is the First Circle
Label: Supertrain Records

Release Date: October 18, 2024

About the author

Illiam Sebitz

Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.

In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.