editing

A fugue with each part in different colors

Rewrite Your Fugues

Published 11/09/18

“Eleonor’s new recording of the Lute Suites brings a fresh perspective on these rarely explored masterpieces, showcasing their intricate structures, rich textures, and emotive character on the modern piano.… Highlights include BWV 997 and 998, featuring stunning fugues with ornate middle sections unlike typical keyboard fugues, and a heartfelt arrangement of “Betrachte, meine Seele” from St. John’s Passion, which serves as a moving conclusion to the album.”

Frances Wilson
Interlude HK

“Sunday afternoon and another concert at a lovely venue, this time the 1901 Arts Club, London’s most stylish and convivial small venue. This was a special concert to celebrate the 340th birthday of J S Bach and to launch American pianist Eleonor Bindman’s new album ABSOLUTE – her own transcriptions for piano of Bach’s Lute Suites BWV 996-998.… the most satisfying aspect of Eleonor’s concert was her ability to bring so much colour and nuance to the music. Her range of sound was impressive, but never too much nor too little. Perfectly balanced to suit the small size of the venue, she brought both intimacy and grandeur (we can thank Bach for that!) to the music. I don’t think I have ever heard the Steinway at the 1901 played better!”

Frances Wilson
Cross-Eyed Pianist

“The process of adapting music from one instrument to another, via transcription, is an art unto itself.… Eleanor Bindman expresses the hope that in presenting these versions of Bach’s music, her intentions and efforts will revive a broader interest in the music.… In transcribing music from the lute to piano there are aesthetic, artistic, and technical considerations facing the musician; Bindman caters well for all.… the tempo and voice clarity of the Allegro from BWV 998 are unmatched by plucked instrument players. How would Bach feel about these new versions of his music: all things considered, probably fairly chuffed.… There is no question that adaptation and transcription of original music can enhance and augment the appreciation of the original composition. … The present recording deserves serious consideration and audition. Listeners will not be disappointed.”

Zane Turner
MusicWeb International

“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

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