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Eleonor Bindman

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Zooming in on Bach’s Building Blocks

Published 03/24/23

Polyphony reigned supreme in the baroque period and most of us understand it as a complex texture of several equally important voices. Those voices, often introduced one by one (as in a fugue), are constantly intertwining, separating, moving in parallel or contrary directions and changing registers. Layers of their linear, “horizontal” movement create “vertical” harmonies, resulting in unique ever-shifting textures which can be overwhelming as our ears and brain try to “keep track.”  Some people have trouble “liking” a fugue because it’s easier to focus on a nice melody and soothing accompaniment of a Chopin Nocturne or a Beatles song.  Others have more affinity for polyphony and enjoy its uplifting effect as one may enjoy looking at a huge luminous tapestry for its overall effect, without knowing exactly how it was made.

Analyzing Bach’s Cantatas or Brandenburg Concertos requires extensive music theory training, usually the domain of composers, conductors and keyboardists who deal with complex scores regularly. Most non-professional pianists don’t need that level of expertise but we would all benefit greatly from understanding how the pieces we play are constructed.  We need to study our scores otherwise we’ll just be playing notes instead of making music, like a precocious child or a trained parrot reciting Hamlet’s monologue. Impressive but surely devoid of whatever meaning Shakespeare aimed to convey. 

As a pianist and arranger, I normally look at several voices at once and try to assess “the big picture.”  Then in 2019, while transcribing the complete Cello Suites for piano, I spent months focusing on one musical line at a time and the smallest patterns clearly emerged as a key to understanding Bach’s language. Seeing how subtly yet mathematically he manipulates those “building blocks” in a cello part led me approach his other works from the same perspective.  Interestingly, it turned out that much of Bach’s keyboard music can be studied with minimal theory background: all we need is to be able to recognize patterns.  

I would like to share some examples of simple analysis with you, in hope that this approach will be useful in getting you to look “deeper” into your scores on a regular basis. To start with, here is a visual study of a piece I teach to all of my students, the F major Invention No. 8 which I also feature in the “Piano Tips” video.

Another wonderful specimen – the Prelude from Cello Suite No. 1 – is usually analyzed by cellists harmonically, showing how the notes form different chords. Since that type of analysis is habitual for a pianist, I was more interested in breaking down each 2 beats into 2 significant elements which Bach later uses to develop the entire movement and provided a sample analysis at the beginning of my Cello Suites for Piano Volume. See the analysis here.

For an example of partial analysis, read the comments to another transcription of mine: “Affettuoso” from Brandenburg Concerto No. 5.  Here, Bach develops a 6-note pattern to infuse more momentum and expression into a fairly static movement. See the analysis and download the work here.

After looking through these pieces and understanding their structure you’ll never go back to just playing the correct notes.  You will gain a new appreciation of the composer’s craft, every note will be “in its place” and you will convey the music as it was intended.  In turn, any listeners will pick up on the information you will be transmitting and will be equally engaged.  Happy Practicing!

Categories: Transcriptions
Tags: transcriptions

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“As she did with the Brandenburgs, Bindman set out to create more “balanced” transcriptions by dividing the responsibilities, and the technical difficulties, more equitably than Reger did.… If I were half of a piano duo, I would want to play these transcriptions with my partner. (And I would be able to, as the scores can be purchased on Bindman’s website.) They retain many of the qualities of Bach’s originals—the grandeur, the balanced grace, the songfulness, and the zest… I appreciate the textural and tonal variety of Bindman’s transcriptions, mirroring Bach’s originals without forgetting that idiomatic writing for two pianos and idiomatic orchestral writing are different. That variety is realized in these performances. The playing is stylish and historically-informed, even though a Bösendorfer piano was unknown during Bach’s time.… There is nothing here that I did not enjoy. …transcriptions such as these help me to see the skeleton that supports the rest of the orchestral body. More than that, however, they are fun, and they celebrate the joy of amateur music-making, even though the performers on this CD are professionals of the first rank.”

Raymond Tuttle
Fanfare

“These versions should not be missed, because they are very original and very, very special. Highly recommended.”

Michel Dutrieue
Stretto Magazine

what a marvelous Bach performer… The prelude from Partita 1 is deliciously slow and expressive, with unexpected marking of inner voices, beautiful ornamentation, shimmering tone.… There’s not a bad movement in the bunch, so I will list a few of my favorites: first of all, I love the thoughtful and poised allemandes; I used to think of them the same way until my harpsichord teacher Arthur Haas convinced me that the one from Partita 6 should be played like a rather quick Italian Allemanda. Maybe so, but Bindman’s slower account is pulling me back in the other direction.… The gigue from Partita 5 is likewise graceful, the interaction among the three voices beautifully controlled and radiant.”

—Rob Haskins
American Record Guide

Bindman’s very special ability to breathe life into the musical events and to give every theme, every figure a shape, even a human profile, also characterizes the fast dances, which never slip into mere motor skills, but are lived through emotionally, are intelligently thought out and logically completed. In this way she lends a fascinating stringency and inner tension even to the slow-motion sarabands, directed inward, so that Bach’s deep spirituality can also be felt here, while in the fast gigue and courante movements she conveys Bach’s life energy with impressive, pedal-free precision and instantaneous drive conjures: There are timeless signals from the galaxy, and everything grooves and swings as if they were messages from today: a fascinating album.”

Attila Csampai
Rondo

“If I had to describe these performances in a single word, that word would be “affectionate.” Bindman clearly loves this music, and she plays it caressingly, as a lover would. … I’d like to point to the aforementioned Sarabande from Partita No. 3, which, under Bindman’s fingers, becomes an absolutely hypnotizing and eloquently grave meditation on the expressive power of 16th-note triplets. This is why we listen to new recordings of music we love—to shine a light on it of which we had not previously been aware.… This release excited my admiration from the moment I started playing it, and that attention has not waned over the course of more than a week. This could be on my Want List at the end of the year.”

Raymond Tuttle
Fanfare
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