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Eleonor Bindman

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Tag: Bach Cello Suites

New Analysis Video — Prelude from Cello Suite No. 1

Published 04/19/24

In honor of this new video, for a limited time, I’m offering a free download of both the analysis and score: Suite No. 1 is… Continue reading New Analysis Video — Prelude from Cello Suite No. 1

Eleonor Bindman

Interview on the Dress Rehearsal Podcast

Published 07/20/23

Eleonor Bindman joined the Dress Rehearsal Podcast to discuss her transcriptions of J.S. Bach’s Brandenburg Concertos, Orchestral Suites, and Cello Suites. Listen to the podcast… Continue reading Interview on the Dress Rehearsal Podcast

Talking Transcriptions with Classical Commentary

Published 11/23/21

It was a pleasure to join the Classical Commentary Channel to talk about my transcriptions of J.S. Bach’s Brandenburg Concertos for Piano Duets and Cello… Continue reading Talking Transcriptions with Classical Commentary

J.S. Bach Cello Suites for Piano Score Now Available

Published 10/19/20

The J.S. Bach Cello Suites for Solo Piano Score is now available to purchase as a download or a hard-copy print edition! My new transcription… Continue reading J.S. Bach Cello Suites for Piano Score Now Available

Bach Cello Suites for Solo Piano Release Day is October 9!

Published 08/14/20

The Naxos/Grand Piano label has set Eleonor Bindman’s J.S. Bach Cello Suites for Solo Piano recording’s release date for October 9, 2020! J.S. Bach Cello… Continue reading Bach Cello Suites for Solo Piano Release Day is October 9!

Eleonor Bindman

The Cello Suites for Piano are Complete!

Published 05/08/20

My J.S. Bach Cello Suites transcriptions for Piano are complete and the recordings have officially been submitted to Naxos Records. I’m looking forward to the… Continue reading The Cello Suites for Piano are Complete!

Eleonor Bindman recording the Cello Suites

The Cello Suites Project, Part 1: The Inspiration

Published 03/02/20

Earlier this week – on February 24th and 25th – I recorded my piano transcription of the Bach Cello Suites, to be released in the fall on… Continue reading The Cello Suites Project, Part 1: The Inspiration

“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

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
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