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.
The Six Solo Cello Suites are some of the most celebrated and much-loved works in the classical repertoire, and they continue to fascinate and inspire performers and audiences alike. In this brand new transcription for solo piano, Eleonor Bindman pays tribute to this music’s enduring allure. … The transcription offers scope for some adventurous interpretation, particularly in the wonderfully playful pairs of Minuets, Bourrées and Gavottes. … Like the works included in her ‘Stepping Stones to Bach’, Eleonor has provided pianists with yet more repertoire to explore, and her elegantly, meticulous transcriptions shine a new light on this wonderful music while also remaining true to the original.