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Eleonor Bindman

Pianist

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Articles

Four Hands on piano

The Joy of Piano Duets

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How to Approach Sight Reading for Yourself or With Your Students

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The Brandenburg Duets

The Brandenburg Duets: why 1 piano/4 hands and not 2 pianos?

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MOST TALKED ABOUT

Brandenburg Duets four-hand piano duet practice sight reading transcriptions

“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

Bindman’s approach, very sensibly, is to let this amazing music speak for itself. Opting for unhurried tempi, she approaches the dance movements with poise, her playing throughout the cycle an object lesson in perfectly balanced voicing and articulation. …In my review of her last Bach recording I hailed Bindman as delivering, ‘Bach playing of the highest order.’ With these model interpretations she does so again here… these intimately recorded and musically convincing performances strike just the right balance between familiarity and revelation. A superb release.”

Andrew Eales
Piano Dao

Eleonor Bindman continues to impress with every new display of her keyboard artistry. … I became aware of her prowess as pianist and arranger in her earlier recordings of Tchaikovsky’s Seasons plus the Waltz and Polonaise from Eugene Onegin (MSR, 2005) and The Brandenburg Duets with fellow pianist Jenny Lin (Grand Piano, 2018). Now, her complete survey of the Bach Partitas, BWV 825-830, proves the clincher: [she] can do anything! … Bach’s keyboard fingerings, difficult to master on the modern piano, hold no mystery for Bindman. It is a measure of this artist’s combined scholarship and keyboard prowess that we can’t tell where the composer leaves off and the performing artist takes over. Really, this is as fine a survey of the Partitas as I’ve ever been privileged to hear. I am pleased to recommend it.”

Phil Muse
Atlanta Audio Club

If you didn’t know the cello originals, you’d happily accept these as keyboard suites. … spectacular in Bindman’s hands… Fascinating, and fun; Bindman’s scholarly but readable notes seal the deal, and the recording is excellent.

Graham Rickson
The Arts Desk

Bindman takes [Bach] quite literally, transcribing in the register he wrote in, mostly, and clearly with enjoyment. Her tempos are sometimes faster than a cellist’s fingers might find practical, but her musical sense is excellent. She observes most of the written repeats.

David W Moore
American Record Guide

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