“All my transcriptions are motivated by the desire to play my favourite music on the piano.” – Eleonor Bindman
A lifelong love of J.S. Bach has led pianist Eleonor Bindman to produce a number of important transcriptions for solo piano and piano duo of his music for other instruments, including the evergreen Cello Suites (read more from Finding the “Essence of Bach”) and the Brandenburg Concertos.
In addition to recordings demonstrating “Bach playing of the highest order” (Pianodao), Eleonor has also produced sheet music and anthologies of her transcriptions, primarily aimed at amateur pianists and piano teachers. Her two-volume ‘Stepping Stones to Bach’ features intermediate piano arrangements of the Baroque master’s most famous tunes, including the Gavotte from the Violin Partita, No. 3, and the Badinerie from the Orchestral Suite, No. 2. In making these transcriptions, she is following in the footsteps of the master himself: Bach regularly transcribed his own and other composers’ music and created different instrumental versions of the same piece.
“The resulting musical statement may be a faithful reproduction …, a transformation beyond recognition or something in between. Regardless of the outcome, the original source is of such exceptional depth and appeal that for the past three centuries, it attracted a steady stream of pilgrims, ready to sacrifice their time and energy for the joy of communion.” – Eleonor Bindman
In her latest project, she has turned her attention to works originally composed for the lautenwerk or lautenwerck (lute-harpsichord), one of Bach’s favourite instruments, similar to the harpsichord, but with gut (or nylon today) rather than metal strings, which results in a more mellow tone. Generally performed on harpsichord, lute, and guitar, 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.
Eleonor Bindman talks to Sebastian Bottone about the Lute Harpsichord or Lautenwerk
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.
Fans of Eleonor Bindman’s previous transcriptions will appreciate this latest addition to the pianist’s catalogue, recorded on a Bösendorfer piano which truly captures the remarkable richness of Bach’s writing.
Eleonor Bindman writes, ‘Transcriptions can revive interest in original compositions, and I am hoping that a piano version of Bach’s Suites BWV 996, 997, and 998 will increase their popularity. There is no consensus as to exactly what instrument each suite was designated for, but the choices narrow down to either the lute or the lute-harpsichord, an instrument then known as “lautenwerck.” Existing autographs and manuscripts are mostly in staff notation with a few lute tablatures since only professional lute players could produce those. Recorded versions are usually titled “lute suites” and performed either by guitarists, lutenists, or harpsichordists. Just like Bach’s other solo collections, these suites present a technical and musical tour de force for their performers and deserve their rightful place alongside Bach’s suites for keyboard, violin, and cello.’
Eleonor Bindman plays her Piano arrangement of the Allemande from the E minor Lute Suite BWV 996
ABSOLUTE: Lute Suites BWV 996-998, transcribed for piano and performed by Eleonor Bindman is released on 7th March on the Orchid Classics label.
Readers in London may like to know that Eleonor will be performing music from this new album at a special concert on Sunday 23 March to mark J.S. Bach’s 340th birthday and to celebrate the release of her recording. The event takes place at the 1901 Arts Club, an intimate and stylish chamber music venue close to Waterloo Station. Further information here.
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