“An artist of strikingly original ideas and irrefutable integrity”
– The Washington Post

“Ultimately, it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.”
– The Washington Post

“a unique voice in the forest of Bach interpretation.”
– The New York Times

Simone Dinnerstein is an American pianist with a distinctive musical voice. The Washington Post has called her “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”

Since that recording, she has had a busy performing career. She has played with orchestras ranging from the New York Philharmonic and the Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, the Seoul Arts Center and the Sydney Opera House. 

Dinnerstein has made fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with Grammy Award-winning producer Adam Abeshouse, and feature repertoire ranging from Couperin to Glass. From 2020 to 2022, she released a trilogy of albums recorded at her home in Brooklyn during the pandemic. A Character of Quiet (Orange Mountain Music, 2020), featuring the music of Philip Glass and Schubert, was described by NPR as, “music that speaks to a sense of the world slowing down,” and by The New Yorker as, “a reminder that quiet can contain multitudes.” Richard Danielpour’s An American Mosaic (Supertrain Records, 2021), surpassed two million streams on Apple Music and was nominated for a 2021 Grammy Award in the category of Best Classical Instrumental Solo. The final installment in the trilogy, Undersong, was released in January 2022 on Orange Mountain Music. Dinnerstein’s latest recording, Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn (a portmanteau of Baroque and Brooklyn, her home New York borough). Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String.

In recent years, Simone has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Concord Sonata. In 2024, she released The Eye Is the First Circle on Supertrain Records, coinciding with Ives’ 150th birthday. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording, Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera and the Cleveland Orchestra. She also premiered Philip Lasser’s The Circle and the Child, which he composed for her, with the Atlanta Symphony Orchestra and recorded it for Sony Classical. In New York, she regularly curates and performs on an innovative Bach series at the Miller Theatre, and she was an Artist-in-Residence at the Kaufman Music Center, where she mentored student musicians and performed Philip Glass’s The Hours and Tirol piano concerto with Baroklyn.

Simone is committed to giving concerts in non-traditional venues and to audiences who don’t often hear classical music. For the last three decades, she has played concerts throughout the United States for the Piatigorsky Foundation, an organization dedicated to the widespread dissemination of classical music. It was for the Piatigorsky Foundation that she gave the first piano recital in the Louisiana state prison system at the Avoyelles Correctional Center. She has also performed at the Maryland Correctional Institution for Women in a concert organized by the Baltimore Symphony Orchestra. In 2009, Simone founded Neighborhood Classics, a concert series open to the public and hosted by New York City Public Schools to raise funds for their music education programs. She also created a program called Bachpacking during which she brought a digital keyboard to elementary school classrooms, helping young children get close to the music she loves. She is a committed supporter and proud alumna of Philadelphia’s Astral Artists, which supports young performers. She has served on the jury of the Leeds International Piano Competition, the Bach Competition Leipzig, the ARD International Music Competition, the Young Concert Artists Auditions, and the Hilton Head International Piano Competition.  Simone is on the piano faculty of the Mannes School of Music and is a guest host/producer of WQXR’s Young Artists Showcase.

Simone counts herself fortunate to have studied with three unique artists: Solomon Mikowsky, Maria Curcio and Peter Serkin, very different musicians who shared the belief that playing the piano is a means to something greater. The Washington Post comments that “ultimately, it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.


Simone Dinnerstein is represented worldwide by Tanja Dorn at Dorn Music.

This approved text is not to be altered or shortened without the management’s permission. Please replace older versions.

September 2025

Website: www.simonedinnerstein.com

Simone Dinnerstein performs Philip Lasser “The Circle and the Child” with MDR Leipzig Radio Symphony Orchestra, Kristjan Järvi, Conductor

Simone Dinnerstein – Something almost being said: Music of Bach and Schubert – EPK

Simone Dinnerstein: Philip Glass Etude No.6

Title: The Eye is the First Circle
Composer: Charles Ives
Released: 2024
Label: Super Train Records

Title: Complicité
Composer: J.S. Bach, Philip Lasser
Released: 2025
Label: Super Train Records

Title: Undersong
Composer: Couperin, Schumann, Glass, Satie
Released: 2022
Label: Orange Mountain Music

Title: An American Mosaic
Composer: Richard Danielpour
Released: 2021
Label: Supertrain Records

Title: A Character of Quiet
Composer: Schubert, Glass
Released: 2020
Label: Orange Mountain Music

Title: Mozart in Havana
Composer: Mozart
Released: 2017
Label: Sony Classical

Title: Broadway-Lafayette
Composer: Gershwin, Lasser, Ravel
Released: 2015
Label: Sony Classical

Title: J.S. Bach: Inventions & Sinfonias
Composer: Bach
Released: 2014
Label: Sony Classical

Title: Night
Composer: Tift Merritt, Schubert, Billie Holiday, Purcell. Brad Mehldau, Bach, Leonard Cohen, Patty Griffin, Johnny Nash
Released: 2013
Label: Sony Classical

Title: Something Almost Being Said: Music of Bach and Schubert
Composer: Bach, Schubert
Released: 2012
Label: Sony Classical

Title: Bach: A Strange Beauty
Composer: Bach
Released: 2011
Label: Sony Classical

Title: Beethoven: Complete Works for Piano & Cello
Composer: Beethoven
Released: 2009
Label: Telarc

Title: The Berlin Concert
Composer: Bach, Lasser, Beethoven
Released: 2008
Label: Telarc

Title: J.S Bach: Goldberg Variations
Composer: Bach
Released: 2007
Label: Telarc International

The Eye Is The First Circle

Artist: Simone Dinnerstein
Release Date: October 18, 2024
Label: Supertrain Records
Producer: Adam Abeshouse

Ralph Waldo Emerson, on whom the first movement of the Concord Sonata is based, wrote in his essay, Circles, “The life of man is a self-evolving circle, which, from a ring imperceptibly small, rushes on all sides outwards to new and larger circles, and that without end.”

Charles Ives wrote his large-scale Concord Sonata in a similar manner, in rushes. Some elements of it he began in 1904, he ‘finished’ it twice in 1919 and 1947 and added and subtracted for much of his life. There is a sense in which he barely stopped writing it. We tend to think of identity as taking us back to our roots, the part of us which remains essentially the same across time. In fact, identity is always a never-completed process of becoming – a process of shifting identifications, rather than a singular, complete, finished state of being. Ives’ music teems with invention, with the music that was all around him – art music and popular music – from which he, in turn, created his own distinctive and changing voice.

This recording of Ives’s sonata is taken from a live performance of a larger audio-visual work, The Eye is the First Circle, in which I coupled a performance of the sonata with manipulated images from The Fulbright Triptych, a painting by my father, Simon Dinnerstein, which formed one of the first rings of my own creative personality. This artistic project was a way in which I could ponder the process we’ve all been through – the accretion of experiences and influences that brought me to the place I was. It was an attempt to do what Emerson argued that we all want to do: to draw a new circle.

-Simone Dinnerstein

Simone Dinnerstein, The Eye is the First Circle: Charles Ives’s Concord Sonata

Tanja Dorn

Owner & President
Phone: +49 (0) 511 13 222 475
Email: dorn@dornmusic.com

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