Eleonor Bindman

Bindman’s transcriptions have a clarity and a cleanliness that Reger’s lack, although Bindman’s and Lin’s playing no doubt also is a contributing factor.… I can’t say that I enjoyed hearing this any less than I enjoy hearing Bach’s originals. … I will be interested to see if the appearance of Bindman’s transcriptions in print will attract other musicians.… I think they can help us to hear these familiar works in new ways, and to gain a new understanding of them. For those reasons, I think they are valid, and Bindman and Lin make a great case for them.”

“…an interesting audible vitality of blending and differentiating voices…[Bindman] achieves a full and interesting sounding score… [The Brandenburg Duets] adds greatly to the two-piano repertoire, which thrives as a four-hand performance –no orchestra necessary.”

“Eleonor Bindman’s arrangement is outstanding…Bindman and Jenny Lin really lean in to this freedom, swinging when Bach allows, and never staid or boring when things get more thoughtful or academic. … Though she may have started with purely pedagogical reasons for bringing this music to four hands and a piano keyboard… Bindman and Lin are obviously having too much fun here for it to be just that. And that makes it even more pleasurable for us to listen to.”

Bindman’s playing was at once languid and lyrical, as in the Prelude, and then powerful and moody, as in the Musical Moments. Even the silences were rich with emotion. … Bindman’s playing is art, practiced for years, until it finally becomes internalized, a natural part of the performer. It is true that hearing Bindman play is like hearing a nightingale sing, but what she plays is not the mindless instinctive song of a bird, but the expression of the heart and mind and soul of a human being.”

Ms. Bindman received a tremendous response from the audience as she returned for three curtain calls.”