Simone Dinnerstein explores the past and the present, connecting Bach’s Keyboard Concerto No. 7 with Philip Glass’ Piano Concerto No. 3, written for her in 2017.
I only started playing [Philip Glass’] music about maybe three years ago two and half years ago, where I created a recital program which juxtaposes his music with Schubert’s music, and I go back and forth between the two composers. So that was my first time playing it but, of course, I’ve been listening to his music my whole life. In fact the first concert that I ever went to without adults, you know, just a friend of mine and I when I think I was about 12 years old and, we went to see The Photographer which was playing at the Brooklyn Academy of Music, and I remember that I had been hearing ads for it on the radio and I was totally intrigued by what I was hearing was the first time I ever heard any of his music. And I decided I really wanted to go and I wanted to go without my parents. It was kind of an important moment for me going to my first concert, on my own.
Bach’s music is…the heart of it, you know where everything comes from. The music has the feeling of you know, whatever you might need from music is there. I feel like if I could only live with one composer that would be the composer I would live with.