Press

“Throughout the afternoon, it was the slow movements, the hymns and little arias, the delicate dances in a suite by Bach, the hypnotically iridescent colors in a new piece by composer Philip Lasser, that cast the strongest spell.”

“Mr. Lasser’s work, based on Bach’s “Nimm von uns, Herr, du treuer Gott,” is an inventive set of 12 variations in a deceptively traditional style. Mr. Lasser keeps Bach’s harmonic framework fully in view, and his own language remains resolutely tonal. Yet a graceful chromaticism gives his melodic expansions on the chorale an inviting freshness and, at times, the hint of a jazz influence. Ms. Dinnerstein played the work from a score, but her performance was as thoughtful and as sharply etched as her Bach.”

“The great discovery of the recital was the new ( …) work by composer (…) Philip Lasser that Dinnerstein has been championing. Proceeding seamlessly from the Bach theme, the idiom remains mostly tonal, allowing Lasser to explore most of the traditional twists of the variation genre, placing the tune in the bass, paraphrasing it in imitative snippets, dressing it up in different stylistic costumes. At the same time, as a more or less “post-atonal” composer, he drew out other sympathetic vibrations from the original: chromatically altered chords in the jazzy fifth variation of harmonic substitutions, a Ravel-esque jets d’eau sixth variation (Lasser studied in France), an obsessive iteration of the half-step motifs in the tune in the eighth variation (…) Lasser (…) is a composer to watch.”

“These are variations in the true sense of the word, massive, virtuosic and richly textured in the manner of Rachmaninov or Brahms, Lasser is a composer with something to say and knows how to say it.”

“… (Simone) Dinnerstein gives the world premiere recording of
Philip Lasser’s (12) Variations on a Bach Chorale (Nimm von uns,
Herr, du treuer Gott – ‘Take from us, Lord, Thou faithful God’), a
bracingly inventive work in the tonal tradition upon which
Dinnerstein lavishes the same devoted care and insights as in the
Bach and Beethoven. A stunning recital, engineered with tactile
precision.”

“Most impressive, though, is Dinnerstein’s performance of Philip Lasser’s masterly Variations on a Chorale of Bach. The composer puts the master through his paces, from the stark, Bartókian glee of the sixth variation to the near-pop rippling of the twelfth. He even demonstrates an evolved sense of humor with the eleventh section, a “Variation of Variations.” But Lasser, like Dinnerstein, shows restraint, carving out a beautifully calm space rather than impressing through velocity. In this, the artist and composer are an ideal match.”

“Lasser hears long melodies and chordal accompaniments much as Brahms or a young Debussy might have.”

“a finely constructed, strong and convincing movement…with a distinctive American flavor… “

“Every piece is a gem, including four standards and one enjoyable new piece by Philip Lasser.”

“Circle of Dreams’ is well made. The uneven phrase lengths engage
the ear, and the composer’s ability to manage long lyrical lines with
grace is considerable.”

“Finally , a Sonata which can wonderfully be integrated into a varied and complete Flute and Piano recital program “