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Bach: A Strange Beauty
 
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Bach: A Strange Beauty

17 Jan. 2011 | Format: MP3

£7.99 (VAT included if applicable)
Buy the CD album for £12.41 and get the MP3 version for FREE. Does not apply to gift orders.
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Song Title
Time
Popularity  
30
1
3:40
30
2
3:17
30
3
2:56
30
4
2:48
30
5
2:26
30
6
2:53
30
7
5:02
30
8
1:59
30
9
4:13
30
10
2:50
30
11
2:20
30
12
8:00
30
13
7:16
30
14
7:13
30
15
3:53
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Digital Booklet: Bach: A Strange Beauty
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Product details

  • Original Release Date: 14 Jan. 2011
  • Release Date: 17 Jan. 2011
  • Label: Sony Classical
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:00:46
  • Genres:
  • ASIN: B004I1GP9M
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 114,641 in Albums (See Top 100 in Albums)

Customer Reviews

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3 of 3 people found the following review helpful By John Kwok on 23 Jan. 2011
Format: Audio CD
Hearing Simone Dinnerstein playing Bach is an experience that's almost quite unlike any other I have heard, either live, or in recent recordings. While many have tended to emphasize the more formal, more analytical, aspects of Bach's scores, here Dinnerstein succeeds most admirably in exploring Bach's expressive side, or rather, to quote the album title, "Bach's Strange Beauty", which she does in compelling performances ranging from transcriptions of organ chorales (e. g. Ich ruf zu Dir, Herr Jesu Christ BWV 639, arr. Busoni, the album's opening track) to solo keyboard works (e. g. English Suite in G Minor BWV 808), and finally, with the two keyboard concerti (Keyboard Concerto No. 5 in F Minor BWV 808; Keyboard Concerto No. 1 in D Minor BWV 1052) played with ample expressiveness from her and the period instrument practice-informed Kammerorchester Staatskapelle Berlin. The most cantabile Bach scores are those of the organ chorale transcriptions, especially the BWV 639.

If there is one unifying theme to Dinnerstein's expressive playing, it is the consistent joie de vivre one feels for each of the Bach pieces, emphasizing the strong emotional as well as analytical aspects of Bach's scores. Those who greatly enjoyed her critically and commercially acclaimed "Goldberg Variations" recording will find much to admire here from a fine young pianist who is the daughter and niece of two of our finest American painters (She does devote ample time in discussing her personal artistic connections to her father's work in the extensive liner notes, as well as explaining why she isn't interested in adhering to a period performance practice style.
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1 of 1 people found the following review helpful By Steen Mencke on 29 Jan. 2011
Format: Audio CD
A big fan of the art of Simone Dinnerstein I have been waiting impatiently for a new issue to follow her superlative Berlin recital. Yet, "Oh, oh" - I thought when I saw the front cover: "A Strange Beauty - written in, what appears to be, chocolate; not an auspicious way to describe works by Bach, the Einstein of classical music. Somebody has been got at by the marketing mafia - "Simone Dinnerstein plays Bach" is no longer good enough, curiosity must now be lured by an ambiguous, quasi-nonsensical heading. Sic transit gloria mundi!" So it was with a mixture of anticipation and dread that I put this disc in my player and pushed the button.

Fortunately my fear was thoroughly put to shame. Luckily Simone is still Simone - and Bach is still Bach, and the peculiar title of the album probably(?) allures to the fact that the mixture of works on this disc is a bit of a "mêlée étrange": two keyboard concertos with an interposed English suite, all devided by piano transcriptions of two organ chorals and a cantata part. Truly a menu of contrasts; one could imagine that heartburn was soon to follow, and I am still not sure it is a juxtaposition I would recommend, if my advice was sought. Still, it is certainly novel - if not exactly true to form.

Moving on to what a review should be all about - the performance and the artistic impression - Simone Dinnerstein's Bach once again proves a treat for sore ears. The opening number "Ich ruf' zu dir, Herr Jesu Christ" is a dark and ominous piece that unavoidably leaves one poised for serious business, and the three main courses - each in its own way - follow the example.
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