|Simone Dinnerstein | photo by Lisa Marie Mazzucco|
It’s a haunting, recursive work. As Tom Service wrote a few years ago in The Guardian, “The four parts create an ever-changing tapestry of melody and harmony, interacting and overlapping with different rhythmic schemes and melodies. The effect is shimmering, kaleidoscopic and seductive ... ” The lavish romanticism Dinnerstein imbued may send Baroque specialists screaming back to their cells, but it made great sense in the context of what followed: Schumann’s Arabesque, Op. 18, another work that conveys a sense of yearning. Its left-hand figurations seemed to pick up where Couperin’s left off, but in a voice that had harmonically advanced by a century. Like the Couperin piece, it’s in the form of a rondo, but its other-than-A sections are more obviously emotionally ravaged. Which is not surprising, coming from Schumann, who wore his heart on his keyboard.