One of the most satisfying and impressive discs of 2007 came from Simone Dinnerstein. (She pronounces her first name “Simona,” by the way.) Ms. Dinnerstein is a 30-something pianist who lives in Brooklyn. And, for the Telarc label, she recorded Bach’s “Goldberg Variations.” This disc created excitement throughout the music world, excitement that was justified.

Now she has a recital disc, also on Telarc. The disc has a rather pompous title: “Simone Dinnerstein: The Berlin Concert.” You know, “The Berlin Concert” — like “The Gettysburg Address.” Anyway, such titling is common in the music biz.

The disc brings us a recital performed in, yes, Berlin. The event took place in November of last year. And Ms. Dinnerstein chose an interesting, well-balanced, and eloquent program.

She begins with Bach’s French Suite No. 5 in G major — which also happens to be the key of the “Goldberg Variations.” Just about every young piano student learns this French suite, but you seldom hear it in recital, from a pro. All the more reason for Ms. Dinnerstein to present this heavenly and much-loved work.

The suite begins with the Allemande, and here Ms. Dinnerstein is fairly free and Romantic — almost Chopinesque. But she is squarely in the realm of legitimate Bach choices. And she plays the Allemande beautifully. In the following Courante, she is fleet, sure, and stimulating. This playing reflects some of the joy of Bach.

One of that master’s greatest slow pieces is the Sarabande of this suite – and, as with the Allemande, Ms. Dinnerstein plays it beautifully. She includes some detachment in the left hand, blending a “period” approach with a more Romantic or pianistic one. I personally am not crazy about this. But, again, Ms. Dinnerstein has made a legitimate Bach choice.

What do you want in the Gavotte? Grace, primarily, and Ms. Dinnerstein provides that. In the Bourrée, she is rightly skippy and merry — skippy and merry while being lovely. Ms. Dinnerstein plays with an exceptionally pleasing tone. (Warmish.) And the Loure, like its slow predecessors, is beautiful.

In the closing Gigue, Ms. Dinnerstein is utterly detached — utterly staccato. And delightful. She brings off this approach splendidly. And she has done justice by the entire suite. She is always a pianist (not a harpsichordist), and a pretty bold one. But she is always respectful of Bachian taste.

She continues her program with a work by Philip Lasser: Twelve Variations on a Chorale by J.S. Bach. Mr. Lasser is a composer in his mid-40s who teaches at Juilliard. The Bach chorale he has chosen to treat is “Nimm von uns, Herr, du treuer Gott,” from Cantata 101.

In his 12 variations — it’s nice to have an even dozen — Mr. Lasser is disciplined, engaging, and, as one should be in variations, varied. He is a good craftsman, and not without inspiration, either. The variations are slow and fast, lyrical and spiky, relaxed and hard-driving. One of them sounds a bit like Prokofiev; another sounds a bit like Debussy. There is even a hint of New Age.

And, from beginning to end, a love of Bach comes through. The variations might have been hard work for the composer, but he seems to have enjoyed himself in the process.

And he has an excellent proponent in Simone Dinnerstein. She plays with considerable intelligence and musicality.

She then tackles a Beethoven sonata — and not just any Beethoven sonata, but the last one, Op. 111. Some people might say that Ms. Dinnerstein has a nerve in playing this sonata. Pianists usually wait until they are older (and, presumably, wiser). There are people who can barely speak of this sonata, so holy do they regard it.

But, if you have sufficient understanding — why not?

Ms. Dinnerstein is superb in the first movement. She is commanding, dramatic — Beethoven-like. She phrases naturally, and she knows just how to apply weight. She allows you to forget her playing and concentrate on the sonata. That is a great gift from performer to listener.

The final movement, the Arietta, is not just sublime but Bach-soaked. It therefore fits the program like a glove. In my view, some of Ms. Dinnerstein’s playing in this movement is a little labored — a little thumping and mechanical. But there is also purity and light. People tend to have high standards for this music, and why not?

I belong to the school that says you must not play anything after Op. 111 — it must be the final word. But, if you’re going to play something, it had better be something good. And, for an encore, Ms. Dinnerstein chooses something very good: a selection from the “Goldberg Variations.” It is Variation 13. And, incidentally, we return to the recital’s opening key of G major.

In this variation, Ms. Dinnerstein exhibits grace and other elements of style. Her way with it is completely winning. She made a splash with that “Goldberg” disc last year. And, in this Berlin concert, she has a worthy follow-up.