Eleonor to Participate in 2018 “Bach in the Subways” Movement

Published 01/23/18

Every year for Bach’s birthday a spontaneous, global community of musicians unites to sow the seeds for future generations of classical music lovers and share their joy and inspiration for their art form. This year’s free performances to celebrate Bach’s 333rd Birthday will take place on March 21-25. Stay tuned for the locations of Eleonor’s appearances that week and visit BachInTheSubways.org for more information.

See Eleonor’s performance on Sunday, March 25, 2018!

Philadelphia Orchestra Members participating in “Bach in the Subways” 2017

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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

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

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