Simone Dinnerstein, The Eye is the First Circle Review

by Brice Boorman

Simone Dinnerstein has long been recognized as a pianist with an unerring ability to find ways to connect music with emotion, in even the most challenging works. Her latest endeavor, The Eye is the First Circle, presents a daring and immersive interpretation of Charles Ives’ Concord Sonata. Recorded live, the performance draws on the philosophical influences of Ralph Waldo Emerson’s essay “Circles,” seeking to synthesize sound, philosophy, and visual art in an innovative, multimedia experience. Dinnerstein’s vision is to bridge the gap between music and the listener’s inner emotional landscape, using her expressive playing and a carefully crafted visual atmosphere to create something that will touch the listener much more than a typical recital.

The atmosphere of the live recording is one of intimacy and expression, putting Dinnerstein’s unique approach to performing Ives’ Concord Sonata on full display. The performances unfold like a conversation with the audience in a palpable manner; you can almost hear the collective breath held during quieter passages and the release of tension as complex phrases come to a close. The spontaneity of the live performance injects an emotional resonance that cannot be replicated in a studio recording, and Dinnerstein embraces this unpredictability, allowing it to amplify Ives’ intricate layers.

Dinnerstein’s interpretation of Ives brings out the inherent complexity of the composer’s work. There is a sense of fearlessness as she navigates the dense harmonies and intervallic melodies, making them feel cohesive and deeply connected to the themes of transformation and continuity that permeate Emerson’s writings. The live setting becomes a catalyst for this expression as each note is being created in the moment, adding to the raw power of her performance.

A key aspect of this performance was the collaboration with projection and lighting designers, transforming the concert into an immersive experience that transcends the auditory. Abstract visual projections responded dynamically to shifts in Dinnerstein’s playing, with lighting pulses that mirrored the swells and recedes of the music, creating a synesthetic link between sound and light. The audience was not just listening; they were enveloped in an environment where music and visuals became inseparable.

Colors shifted throughout the sonata to reflect its changing moods—cool blues and greens washed over the audience during reflective, quiet passages, transitioning to vivid reds and oranges as the music intensified. This thoughtful use of color amplified the emotional highs and lows of the performance, making the concert as much about seeing as it was about hearing.

Additionally, a live painter was present, creating visual art in real-time. This evolving canvas offered another dynamic layer to the performance. Broad, expressive brushstrokes emerged during moments of intensity, capturing the fervor of Dinnerstein’s playing, while delicate lines and softer colors echoed the quieter, more introspective movements. The painter’s work seemed to both influence and be influenced by the music, creating a feedback loop of artistic expression. It was a beautiful representation of Emerson’s concept of “circles”—an ongoing interaction, where art begets art, and ideas transform into new forms.

The visual elements added a tactile dimension to the performance, offering a visual representation of Ives’ music that was as fragmented and yet cohesive as the sonata itself. Swirling shapes, expanding circles, and fragmented imagery visually echoed the expansive philosophical themes of Emerson’s “Circles,” while also mirroring the unpredictability and complexity of Ives’ composition. This interplay between visual art and music enhanced the audience’s emotional engagement, inviting them to not only hear but also see and feel the unfolding narrative.

The emotional journey of the performance is constructed through the interplay between Dinnerstein’s emotive playing and the visual elements surrounding her. The performance, at its core, was an exploration of Emerson’s idea of “circles”—themes of growth, transformation, and the eternal return resonated through both the music and the visuals. Dinnerstein’s approach to dynamics and phrasing emphasized these themes, with crescendos that felt like waves cresting and receding, mirroring the cyclical nature of existence.

Lighting and projections played a crucial role in magnifying the emotional content of the music. For instance, during the first movement, the visuals used darker, muted tones, reflecting the introspective nature of Dinnerstein’s playing, while the crescendo of warm colors during the climactic sections added an almost palpable sense of forward motion and anticipation. The real-time collaboration between Dinnerstein and the painter added yet another dimension, as the evolving artwork paralleled the music’s shifts—turning abstract concepts into visible, tangible forms.

Dinnerstein’s technical mastery of the Concord Sonata is a feat in itself, but in the context of a multimedia performance, it becomes something more—a synthesis of different art forms that serves to recontextualize Ives’ work for a modern audience. Her playing was assertive and nuanced, perfectly complementing the projections and live painting to create a layered narrative that felt both innovative and true to the spirit of Ives’ original composition.

The Concord Sonata is known for its fragmented yet surprisingly coherent structure, and Dinnerstein’s interpretation embraced this quality fully. Her performance, paired with the evolving visuals, crafted a compelling dialogue between the old and the new, the auditory and the visual. The juxtaposition of Ives’ dense musical textures with the fluid, evolving visual narrative challenged the audience to consider the sonata in new ways—beyond just the notes on the page. This integration of classical music with modern visual arts showcased how timeless compositions like Ives’ can continue to evolve and resonate, reaching audiences that might otherwise find them inaccessible.

The Eye is the First Circle reflects how live performance, combined with multimedia elements, can deepen a listener’s connection to the music being recorded. Simone Dinnerstein’s interpretation of Charles Ives’ Concord Sonata—framed by the immersive projections, dynamic lighting, and live painting—created a space where sound, vision, and emotion converged. It was a group experience where the performers and audience shaped the recording’s auditory energy with its all-encompassing artistic journey. Dinnerstein’s contribution is profound as she reimagines the performance of classical music and redefines the space in which it is experienced, blurring the boundaries between a traditional recital and an experiential art installation. Making The Eye is the First Circle about listening to Ives and feeling the energy of its beautiful complexity with today’s energy.