Simone Dinnerstein (photo © Lisa-Marie Mazzucco)
October 24, 2026
On Saturday, October 24, world-renowned pianist Simone Dinnerstein presents an illuminating performance of J.S. Bach’s Fifteen Inventions (BWV 772–786) and Fifteen Sinfonias (BWV 787–801) — works of crystalline beauty that reveal Bach’s genius in its most intimate and inventive form. This concert will be held from 4 to 5 p.m. at the Peterborough Town House at 1 Grove Street in Peterborough, New Hampshire.
On Saturday, October 24, world-renowned pianist Simone Dinnerstein presents an illuminating performance of J.S. Bach’s Fifteen Inventions (BWV 772–786) and Fifteen Sinfonias (BWV 787–801)—works of crystalline beauty that reveal Bach’s genius in its most intimate and inventive form. Each miniature showcases Bach's extraordinary gift for melody, counterpoint, and expressive nuance, revealing remarkable depth and variety within a deceptively simple form. Together, they offer a fascinating glimpse into the imagination of one of history's greatest composers.
Celebrated for her thoughtful interpretations and expressive clarity, Dinnerstein has earned international acclaim for her performances of Bach and other composers. Her deeply personal approach and exceptional artistry have made her one of today's most compelling pianists, bringing fresh insight and warmth to these timeless works.
Buy tickets here or purchase a discounted pass for the entire festival.
The Program
Fifteen Inventions, BWV 772–786
Fifteen Sinfonias, BWV 787–801
About Simone Dinnerstein
(photo © Lisa-Marie Mazzucco)
American pianist Simone Dinnerstein has a distinctive musical voice. The Washington Post has called her “an artist of strikingly original ideas and irrefutable integrity.” She first came to wider public attention in 2007 through her recording of Bach’s Goldberg Variations, reflecting an aesthetic that was both deeply rooted in the score and profoundly idiosyncratic. She is, wrote The New York Times, “a unique voice in the forest of Bach interpretation.”
Dinnerstein has played with orchestras ranging from the New York Philharmonic and Montreal Symphony Orchestra to the London Symphony Orchestra and the Orchestra Sinfonica Nazionale Rai. She has performed in venues from Carnegie Hall and the Kennedy Center to the Berlin Philharmonie, the Vienna Konzerthaus, Seoul Arts Center and Sydney Opera House. She has made fifteen albums, all of which have topped the Billboard classical charts. Her first fourteen albums were recorded with Grammy Award-winning producer Adam Abeshouse. During the pandemic she recorded three albums which form a trilogy: A Character of Quiet, An American Mosaic, and Undersong. An American Mosaic was nominated for a Grammy. Her most recent recording Complicité (Supertrain Records, 2025), is her first all-Bach album in over ten years and features Jennifer Johnson Cano, mezzo-soprano and Peggy Pearson, oboe d’amore along with the string ensemble Simone founded and directs, Baroklyn. Recorded with producer Silas Brown, the album also includes composer Philip Lasser’s continuo realizations and recomposition of Bach’s Air on the G String.
In recent years, Dinnerstein has created projects that express her broad musical interests. She gave the world premiere of The Eye Is the First Circle at Montclair State University, the first multi-media production she conceived, created, and directed, which uses as source materials her father Simon Dinnerstein’s painting The Fulbright Triptych and Charles Ives’s Concord Sonata. She premiered Richard Danielpour’s An American Mosaic, a tribute to those affected by the pandemic, in a performance on multiple pianos throughout Brooklyn’s Green-Wood Cemetery. Following her recording, Mozart in Havana, she brought the Havana Lyceum Orchestra from Cuba to the U.S. for the first time, performing eleven concerts. Philip Glass composed his Piano Concerto No. 3 for her, co-commissioned by twelve orchestras. Working with Renée Fleming and the Emerson String Quartet, she premiered André Previn and Tom Stoppard’s Penelope at the Tanglewood, Ravinia and Aspen music festivals, and performed it at Carnegie Hall, the Kennedy Center, and presented by LA Opera and the Cleveland Orchestra.
The Washington Post comments, “it is Dinnerstein’s unreserved identification with every note she plays that makes her performance so spellbinding.” In a world where music is everywhere, she hopes that it can still be transformative.