Johann Sebastian Bach (1685-1750)
Lute Suite BWV 996
Lute Suite BWV 997
Prelude, Fugue, Allegro BWV 998
‘Betrachte, meine Seel’ from St. John Passion, BWV 245
Eleanor Bindman (piano)
rec. 2024, President St. Studios, Brooklyn, New York.
Orchid Classics ORC100366 [56]
It was not uncommon for guitar recordings of the second half of the 20th century to be accompanied by liner notes which presented copious excuses, and rationalisations, as to why the programme contained transcriptions and arrangements of music written for other instruments. One must assume that complex rather than reality influenced such initiatives. J.S. Bach frequently embraced the recycling of a good deal of his music. Granados expressed to Miguel Llobet a preference for Llobet’s guitar arrangements of his music over the originals for piano. Segovia went one step further and referred to guitar transcriptions of original piano music by the Spanish Nationalists, as a restitution to the instrument that inspired them.
This disc presents a situation which, in relative terms, may be expressed as ’the shoe on the other foot’. The instrument with probably the largest repertory, presents a programme of transcriptions of Baroque plucked-instrument music. Included are BWV 996-997, commonly known as The Lute Suites, along with BWV 998, and ‘Betrachte, meine Seel’ from the St. John Passion. There is no consensus on exactly what instrument these were composed for, but lute or lute-harpsichord, an instrument then known as ‘lautenwerck’ are considered the favourites. Usually played on harpsichord and lute, they are also highly favoured by guitarists. One of the treasures of the guitar discography is Julian Bream’s version of this music on the RCA label.
The process of adapting music from one instrument to another, via transcription, is an art unto itself. Depending on the capabilities, and artistic orientation of the musician, results may vary from acceptable to superior, sometimes with preference being expressed for the new creation. A careful analysis of guitar transcriptions of the music of Isaac Albéniz can be quite revelatory. The same can be said of the orchestrations of Bach’s music by Leopold Stokowski, to quote only two of numerous examples.
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. Drawing on the example of Albéniz’s piano music transcriptions for guitar, the latter has popularised the music in a way the piano never has. It is not frequently included in piano recitals or discography, but is omnipresent in guitar recitals and recordings.
Eleanor Bindman was born in Riga, Latvia and began playing the piano at age five. Her family migrated to the USA where she attended the High School of Performing Arts in New York City while studying as a full scholarship student at the Elaine Kaufman Cultural Centre. She received a BA in music from the NY University and completed an MA in piano pedagogy at the State University of New York, New Paltz. Among her many piano arrangements is Mussorgsky’s Night on Bald Mountain. Her original piano works included the children’s pieces, An American Calendar.
In transcribing music from the lute to piano there are aesthetic, artistic, and technical considerations facing the musician; Bindman caters well for all. Having listened to this repertory played on guitar and lute for decades, some aural adjustments to these new versions are necessary. The subtle and beautiful nuances of tone in Bream’s rendition are absent; but the sustain and bass of the piano more than compensate, and 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. Jacques Loussier is just one musician who excelled at this, and of course not just with the music of Bach.
The present recording deserves serious consideration and audition. Listeners will not be disappointed
Zane Turner
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