Unlike the only published piano duet arrangement by Max Reger, which has serious performance limitations, Eleonor Bindman’s new transcription of the Brandenburg Concertos highlights their polyphony, imagining how Bach might have distributed the score if he had created four-part inventions for piano duet. With an equal partnership between the two instrumentalists, using the modern piano’s full potential to convey the unique scoring and character of each work, the concertos are ordered to create an engaging listening sequence. Both Eleonor Bindman and Jenny Lin receive critical accolades wherever they perform. The Poughkeepsie Journal write of Bindman: “…a strong pianist who attacks her work with great vitality and emotion. She is extremelyRead more expressive and mesmerizes her audience with her flair and technique.” Gramophone magazine hailed Lin as “an exceptionally sensitive pianist,” while The Washington Post labeled her as “…surely one of the most interesting pianists in America right now…”
Beyond mere curiosities, these transcriptions allow for familiar works to be experienced in new and valid ways. Pianists Bindman and Lin make a great case for them.
Only pianists of the highest caliber could deliver these performances. Nothing seemed out of place, and the phrasing and dynamic shaping of the lines were exceptional. This is a fresh look at some of Bach’s greatest works in piano arrangements that work quite well.
Monumental Task!! October 3, 2019By Lorenzo M. See All My Reviews"I learned about the Brandenburg piano duet recording and transcriptions by Eleonor Bindman through social media and since then I been intrigued to learn more about her monumental task. As a pianist passionate about duet and 4-hands repertoire I did attempt in the past to read through some of the Max Reger Brandenburg transcriptions, the only other complete and available transcription for piano-4-hands, and always found them very unfriendly to play. The PRIMO parts of the Reger version are usually flooded with a lot of inner notes that are probably needed to be played but that in the position where Reger placed them only create overly dense and awkward hand positions for the pianist and also diminish the capacity to carry over the counterpoint and melodic lines of the original music. It seems also that Reger has chosen to respect the heights of the pitches and notes of the originals, the reason why the PRIMO parts are usually very dense and sometimes impossible to play at the right tempo and the SECONDO is much less dense. Given these issues, that luckily I am not the only pointing them up, there seem to be no recording available of the Reger transcriptions. Ms. Bindman's transcriptions (and recording) need to be highly commended as they are much more friendly to play and are accessible to a variety of pianistic skill sets. In her version the melodic lines are much more distributed between the two parts, creating a less dense but much more rich melodic lines. In Ms. Bindman's version, the pianists cross hands at times, but this results in a texture that is much more playable and more exemplary of Bach's original score. The recording is also very nicely produced. Highly recommended. "Report Abuse
Interesting. . . EnoughJune 12, 2019By Robert C. (Tucson, AZ)See All My Reviews"More interesting as a possibility than actually realized. The musicality of the pianists is first rate. The kaleidoscopic brilliance of Bach's orchestras is missed."Report Abuse
Brandenburgs from a new directionJanuary 10, 2019By Douglas S. See All My Reviews"The transcriptions and the beautiful performance makes these pieces feel new and alive. Ideas and elements which were there all along get a chance to come out and be heard in a new way, which I love. What an amazing experience it must be for the two people playing this music together! Listening to these recordings I find myself feeling the interaction of the players, as humans, whereas in orchestral versions I hear the interaction of the instruments and timbres. These transcriptions seem to make it possible for regular civilians to experience this too, or at least to try. Many of us feel very "at home" with these pieces, as if they are part of the family - with these new transcriptions it seems like they've been made available to us in a whole new way, that we could learn to make this music with a friend at the piano, and experience the music from that direction. Thanks!"Report Abuse