“If Bach lies beneath Dinnerstein’s performance of Gershwin, he is found throughout the score of “The Circle and the Child,” the concerto Lasser wrote for Dinnerstein. Lasser explains that the concerto has a Bach chorale “at its core. … The first movement brings us to the world of the chorale, the second movement is the clearest example of the chorale — you can hear it — and then the last movement is where the chorale would evolve.”

Like many great works of the past, the concerto grew out of a relationship of deep respect between composer and performer.”

Read the full article:Boulder Weekly

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