The shadow of centuries falls through the transparent strings of the lute, making its way into the dark lacquer of the piano. The music of Johann Sebastian Bach is the breath of time, its golden dust settling on the pages of the score. In this breath lies a world in which the ancient lute transfers its soul to the keys, where sounds are no longer tied to a single instrument and acquire new flesh. In her new album “ABSOLUTE,” which will be released on March 7, 2025, pianist Eleonor Bindman transports the works of J. S. Bach, created for the mysterious lautenwerk – a hybrid of the lute and the harpsichord – into the world of piano music. These elegant transcriptions reveal fresh facets of rarely performed masterpieces, filling them with a new sound.
The transcriptions of J. S. Bach’s works, originally written for lautenwerk, for piano – are like the transfer of the light play of fingers on strings into more substantial, singing touches on the keys. What sounded on the lute like a conversation with the wind, on the piano acquires the depth of an organ, and it seems as if the ancient stone walls of the cathedral begin to respond to this voice.
In the piano interpretation, they acquire a different hue – as if the voice of past centuries suddenly became closer, warmer, and the veil of ancient pages disperses. Few dare to approach performing the works of the composer, and even fewer pianists manage to achieve an artistically convincing result in this field. But Eleonor Bindman, surprisingly, does so with a kind of natural ease. It seems that she is having a quiet, respectful, and loving dialogue with Bach. Her interpretation is both mature and fresh, Bach’s music regains its original sound, but with a little of the soft, soulful warmth characteristic of our time.
Eleonor Bindman masterfully conveys the architecture of each piece: from the expressive polyphonic thinking in BWV 996 and BWV 997 to the impeccable Prelude, Fugue and Allegro in E-flat major, BWV 998. The timbral palette and dynamic flexibility are particularly striking. I was truly captivated by how Transcribed by Eleonor Bindman sounds natural, precise, and effortless.
For me, Courante and Sarabande from Lute Suite in E minor, BWV 996 stand out the most. The first impresses with its lightness and clarity of articulation, the second fascinates with its expressive depth of sound. Its threads of polyphony intertwine with wonderful harmony, and the counterpoint ascends to the sky, elevating every phrase. In this piece, one feels the composer’s mastery, he constructs a complex fabric of sounds where each element finds its place in impeccable order.
Prelude and Fugue from Lute Suite in C minor, BWV 997 demonstrate a fine sense of form: the prelude breathes with freedom and improvisation, while the fugue unfolds with strict architecture and flexibility of voice leading.
In Allegro from BWV 998, one can hear an inspired combination of clarity and swiftness, while the profound performance of “Betrachte, meine Seel” from St. John’s Passion, BWV 245, is incredibly perceptive and allows for complete immersion in the performance, disconnecting from the surrounding world.This work is one of the most significant parts of Christian music, where Bach reveals the suffering of Jesus Christ, his death on the cross, and its consequences for the faithful. Eleonora is attentive to details – tempos, dynamic nuances, pauses – all of this combines into an emotional response to the great musical heritage.
Eleonor Bindman has astonishingly accurately and subtly captured all those nuances. In her performance, these multilayered phrases become tangible. Every movement of the pianist’s hands on the keys dissolves time, the polyphonic line breathes, and conveys the multifaceted nature of Bach, his vivid inner world.
It is precisely this ability of Bindman to find the living, personal element in Bach’s works that makes her interpretations so unique and truly inspiring. When the piano takes on the role of the lute, it does not copy, but unveils its secret voice, allowing it to sound in a different space.
Eleonor Bindman’s transcription creates space for a quiet, deep revelation. No sharp contrasts, no loud gestures – only the calm fabric of sounds, where every change of key or tempo is felt as a moment when everything around comes to a standstill. The entire character of the music conveys grief and a silent meditation on the meaning of suffering.
Fans of Eleonor Bindman’s early works, such as the “Brandenburg Duets” and “Suites for Cello,” will surely appreciate new album “ABSOLUTE,” refined interpretation of Bach’s works. Recorded on a Bösendorfer piano, the album reveals the musical sophistication of genius, bringing unexpected shades to familiar melodies, allowing one to perceive their eternal beauty in a new way.
And perhaps, in this music, gliding across the keys, one hears not only Bach, but something more – the echo of eternity.
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