In this introduction to the series Realizing Bach, American pianist Simone Dinnerstein lays out the challenges faced by the pianist when interpreting Bach's D Minor Keyboard Concerto, BWV 1052. Dinnerstein's solo investigation into the possibilities of articulation, tone, and phrasing culminates in a collaboration with members of the string ensemble Baroklyn. Through their insights, Dinnerstein is able to resolve the problems posed in her initial investigation, and realize a compelling interpretation of Bach's concerto on modern instruments.

In this lesson, American pianist Simone Dinnerstein explores the first movement Allegro of Bach's Keyboard Concerto in D Minor, BWV 1052. Dinnerstein approaches the work by posing questions to the interpreter that can only be fully resolved by engaging directly with a string ensemble.

Dinnerstein discourages the style of Bach playing that is influenced by the click-track regularity of pop music beats, and encourages you to explore shapes that deviate from a strict pulse and require a more irregular, linguistic approach to rhythm.

Choosing convincing articulations is crucial to an effective performance of the work, and Dinnerstein asks you to image how string players my bow certain phrases. Regarding the pedal, Dinnerstein demonstrates how to use it tastefully and tactically to enhance Bach's dramatic effects while stille preserving the clarity of the counterpoint.

Dinnerstein stresses the importance of developing an intimate familiarity with the string parts as you learn the solo part, so that, for example, you can listen to the individuality of the viola line at certain moments and react accordingly at the piano. One of the pleasures of playing Bach is that you can try out different things, and Dinnerstein provides an example of how you might approach the work in an experimental, yet informed way.

In this lesson, American pianist Simone Dinnerstein explores the third movement Allegro of Bach's Keyboard Concerto in D Minor, BWV 1052.

The movement is brisk, and technically demanding, and Dinnerstein gives several pointers to help you orient yourself physically and stylistically when practicing. It's important not to impose downbeat on the piece, and instead to achieve a "swing" feel that is more naturally to string playing. By imagining how a phrase would be played on a string instrument, you can modify your motions and find more facility in fast passages.

Articulation is crucial to Bach, and when playing at high speeds it is challenging to control your touch as you might like. Dinnerstein walks you through her practice strategie for developing more control over your touch. She encourages you to begin by practicing slowly and legato so that you can hear the sound and feel the intervals better, allowing you to make early decisions about inflection. Once you get comfortable with a passage at a faster tempo with a legato articulation, you can strive for a more detached, harpsichord-like sound, by "taking away some of the legato" from your attack, rather than trying to play short articulations.

Rather than walk through every measure of the piece, Dinnerstein chooses representative passages and breaks them down in depth so you may apply the same insights to the rest of the movement.

In this special feature, pianist Simone Dinnerstein is joined by the principal violinist Rebecca Fischer of 'Baroklyn' string ensemble for a workshop on Bach's D Minor Keyboard Concerto, BWV 1052.

The interpretive challenges Dinnerstein broached in her lesson on the tonebase are best resolved through a collaboration with string players. Dinnerstein and Fischer explore the expressive and stylistic parameters presented by their respective instruments, and experiment with possibilities of articulation, color, and phrasing.

The collaboration offers a rare window into a productive rehearsal process between a professional pianist and instrumentalist. The insights gained from your seat as a "fly on the wall" will enrich your study of solo repertoire, especially the possibilities in interpreting Bach's music on the piano.

In this lesson, American pianist Simone Dinnerstein explores the second movement Adagio of Bach's Keyboard Concerto in D Minor, BWV 1052.

Dinnerstein begins by discussing the origins of the musical material Bach uses in this Adagio. Knowing that some of the primary material derives from one of Bach's Cantatas, in which the chorus sings a plaintive text, can help shape your conception and interpretation of the movement. The deep sadness of the descending line can be best expressed if you treat each note as the syllable in a doleful text.

While Dinnerstein doesn't usually approach her interpretations in terms of relating the music to a storyline or plot, in this particular case she sees the structure of the movement as a clear image of loss. The long arc of the piece moves from the soloist's private exprerience of loss, to more and more public expressions of mouring, an effect that depends on carefully crafting the developing dynamic between strings and piano.