Johann Sebastian Bach’s “Goldberg Variations,” BWV 988, is hardly the sexiest work around.
Yet, improbably, it has become the vehicle that has transformed Simone Dinnerstein — a virtual unknown as little as a year ago — into something of a sensation in the classical world.
She funded a recording of the famed yet erudite work in 2005. It was finally released on the Telarc label in August, becoming an instant, if totally unexpected best seller, reaching No. 1 on the classical charts.
Smartly jumping on the bandwagon, the Aspen Music Festival engaged her to perform her now-signature work Tuesday evening in what was her Colorado debut, providing an up-close opportunity to hear what the fuss has been all about.
After acknowledging the overflow audience in Harris Concert Hall and taking her place on the piano bench, Dinnerstein startled attendees by proceeding to remove her shoes. She played the entire concert barefoot, a highly unusual quirk.
But once she put fingers to keys, the absent shoes were forgotten. The 35-year-old pianist lived up to the hype, offering a probing, deeply personal interpretation of this massive keyboard work, which consists of an aria and 30 variations.
Though the “Goldberg Variations” are a supreme technical challenge on every level, they are much more than a series of mere exercises. They offer a near bottomless well of opportunities for expression, and fully exploiting them might well be the biggest hurdle of all. Dinnerstein excelled on both fronts.
While some performers convey the notion of being engaged in a kind of battle with the music as they play, she appeared remarkably comfortable and undaunted, tackling each new section with unflagging relish.
In a performance that lasted about 75 minutes without intermission (slightly shorter than her recording), Dinnerstein emphasized the work’s intimacy. She focused on giving shape and identity to the miniature world embedded in each section.
As any performer of this piece should, she allowed herself considerable interpretative freedom, without sacrificing discipline and control. She seemed as much at ease in the slow sections as the fast, with abundant highlights coming in both.
Even in the most up-tempo, intense sections, there were no harsh attacks, no undue ferocity, no bombast. From the first variation to the flying fingers of the 20th, she brought infectious zest and energy to each, while maintaining a consistent fluidity and lovely touch.
But it was the slow movements that stood out most, because she seemed to lose herself at times in the moment, taking the audience with her. In the 15th and 21st variations, for example, she was unafraid to linger and make achingly palpable their quiet air of mystery.
Was this a definitive take on the “Goldberg Variations”? Probably not. But it was certainly a fresh, distinctive version worth hearing and considering.
In the prodigy-driven world of classical music, it is unusual for a performer to emerge in her mid-30s. But make no mistake, Dinnerstein is a formidable pianist with an original voice.
Kyle MacMillan: 303-954-1675 or kmacmillan@denverpost.com
