When playing original keyboard compositions by Bach (not transcriptions, where pedaling would depend on the arranger’s intentions) I sometimes use the damper pedal to bring out implied harmony when counterpoint isn’t in progress. The pedal can help to amplify a single chord, like a final one of a movement, for a more effective ending. It can also help bring a new texture to a pattern or passage built on a broken chord. For example, the beginning arpeggios of the Fantasia in C minor, BWV 906 provide a justifiable pedaling opportunity since all of the notes outline one chord so their function is clearly harmonic. By the same token, in a piece like the famous Prelude in C major from WTK II, every separate harmony could be pedaled, carefully. I am sure Bach would experiment in that direction, had he the opportunity.
“Eleonor Bindman has done a wonderful job for many musicians with her “Brandenburg Duets” project: a transcription of Bach’s Concertos Bach for 4 hands… The result is playfully as fresh and new as authentic and convincing. Balanced in sound, perfectly attuned to each other, the version reveals new sides to these works, and the pianists equally do justice to the solos as well as the tutti with four hands, so that it would be a real pleasure for Bach. The hope is to see the transcription published by 2020 in musical form – it would be a stroke of luck for the four-hand repertoire and its lovers. A wonderful recording.”