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“Bach first became my beacon when I was about 10 years old. I remember sneaking a peek at my piano teacher’s notebook and seeing the words “plays Bach well” under my name. That vote of confidence shaped my musical identity…”

Eleonor Bindman, pianist

The Six Solo Cello Suites are some of the most celebrated and much-loved works in the classical repertoire, and they continue to fascinate and inspire performers and audiences alike. In this brand new transcription for solo piano, Eleonor Bindman pays tribute to this music’s enduring allure. The Cello Suites project grew out of Eleonor Bindman’s ‘Stepping Stones to Bach’, arrangements of orchestral and choral music which aimed to help amateur pianists play Bach successfully. The 2-volume collection includes transcriptions of some of Bach’s most popular music, including the ‘Badinerie’ from the Suite BWV 1067, the chorale prelude “Wachet Auf”, “Erbarme dich, mein Gott” from the St Matthew Passion, and three movements from the Cello Suites. Inspired by how gratifying it felt to play those, Eleonor researched existing piano versions of the complete Cello Suites and was surprised not to come across any that were really true to the original.

The only straightforward piano transcription of any movements of the Cello Suites, dating from 1914, is by Russian pianist and impresario Alexander Siloti (1863-1945), a student of Franz Liszt. Siloti’s transcription gave Eleonor the resolve to pursue this project and arrange the complete 36 movements as closely to the original as possible. Playing through other variously enhanced piano versions, including an arrangement of all six Suites by Joachim Raff (c.1869-71) and of Suites 2, 3 and 5 by Leopold Godowsky (1924), Eleonor became convinced that the Suites didn’t need any “improvement.”

In her transcription, Eleonor has made a number of adjustments due to the different capabilities of the instrument, including slightly faster tempi especially in the Sarabandes, which also help make the harmonic structure more discernible. Here too she endeavoured to imitate the cello sound most closely, which would not have been possible without the marvellous baritone register of her Bösendorfer piano on which her recording was made. Some transpositions have also been necessary, and a variety of embellishments in repeats, some conventional and some more original. The transcription offers scope for some adventurous interpretation, particularly in the wonderfully playful pairs of Minuets, Bourrées and Gavottes.

“The Cello Suites are the essence of Bach, a meditation which mysteriously connects us to ourselves and to the universe at once. My new transcription of this beloved set shows a refreshing perspective to a pianist, unencumbered by counterpoint and zooming in on the individual line, patterns, tone quality, and the great composer’s vocabulary. I find the experience of playing the Suites on the keyboard not only aesthetically satisfying but also relaxing and joyful. We could all use an opportunity to enjoy our music-making without unnecessary stress, especially in current times. I am also eager to bring these 36 pieces to many pianists and students because they are immensely beneficial for working on tone and finger technique.” –Eleonor Bindman

The recording of Eleonor’s transcription, made on her own Bösendorfer piano, is released on 9 October 2020 on the Naxos Grand Piano label, and the sheet music is also in preparation. This is aimed primarily at amateur pianists (intermediate to early advanced level) who relish the opportunity of playing music other than Bach’s works specifically for keyboard and who would like to be free of the rigours of complex counterpoint. Like the works included in her ‘Stepping Stones to Bach’, Eleonor has provided pianists with yet more repertoire to explore, and her elegantly, meticulous transcriptions shine a new light on this wonderful music while also remaining true to the original.

To listen to sample tracks or pre-order, click here

For press information about Eleonor Bindman’s Cello Suites for Solo Piano, please contact Frances Wilson

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Who or what inspired you to take up composing, and pursue a career in music? 

They always say that you don’t choose music as a way of life, it chooses you. From when I was about six years old I remember endlessly doodling  at the family piano, generally making up my own pieces rather than  learning how to play what was put before me by my piano teacher. I  couldn’t write down what I was making up until a few years later, but the impulse to compose something of my own was always there. I was fortunate to go to a school where music was an important part of the curriculum, I sang in the school choir, and by the time I was in my  teens I was showing up my little compositional efforts to our director of music Edward Chapman, who was always encouraging and never tried to  steer me into any particular style or genre. I was immensely enriched by  a friendship that developed between me and John Tavener, who was a year  ahead of me in school and streets ahead of me in compositional  technique and sophistication. It wasn’t until he left to go on to the Royal Academy of Music and I went to Cambridge that I came out from  under his shadow, but I owe him a great debt for the encouragement he gave and the example he offered. There was never any doubt that he would  become a professional composer, but I had no thought of that happening  to me, and in fact I was advised by my headmaster to go for an academic career (not in music), advice I’m very glad I didn’t take. 

Who or what were the most significant influences on your musical life and career as a composer? 

This really follows on from my previous answer, and I’ll confine myself to  those I have known personally; I could give you a long list of composers  and other musicians from the past who have inspired me. My kindly college at Cambridge allowed me to do a music degree, even though I had applied to study modern languages, and I was fortunate again: I was assigned Patrick Gowers as a composition teacher, who was a considerably  gifted composer now remembered mainly for his atmospheric and finely-crafted music for a TV serialisation of Sherlock Holmes which ran  for many years, but who was open to all sorts of music (he was a very  good jazz pianist) and who let me go my own way. Also at Cambridge I met  and got to know Sir David Willcocks, the renowned director of King’s  College Choir who believed in my compositional talent and took me under  his wing. It was thanks to him that my first little compositions (a  group of Christmas carols!) were published, and this led to my  association with Oxford University Press which has lasted for a very  long time. David continued to champion my work, and he remained a mentor  and friend to me for the rest of his life. I could list many other key  figures who have offered me opportunities, encouragement and support, I  have been so fortunate: no one I respect has ever told me ‘look, you’re  no good, retrain for another profession’. 

What have been the greatest challenges/frustrations of your career so far?  

The greatest challenge is to keep yourself fresh, not repeat yourself too  much, and find a balance between exercising the skills you know you’ve  already got and learning new ones. Finding the will power and stamina to write when you’re tired and busy with other work is hard. Every day of my life I’m shamed by the quantity and quality of music that so many composers have succeeded in writing when there are only twenty-four hours in a day. I’m not prolific, but then I divide my energies: composition is the compulsion, I guess, but conducting is the pleasure, and being among musicians, sometimes in the role of recording producer,  is a great joy and privilege. My only frustration is that I don’t get  more done. 

What are the special challenges/pleasures of working on a commissioned piece? 

It’s many years since I’ve undertaken commissioned work. In the 1980s I contracted a debilitating illness, ME (also known as post-viral fatigue syndrome), and, like malaria, it cycles on and off so you have good weeks and bad weeks. When you accept a commission there is a binding obligation to deliver on time, and I had to accept that I might not always be able to do that, so I stopped. After about seven years I made a  full recovery, but did not by then want to go back to what had become a  treadmill, so I continued in a pattern that I have stuck with ever since: from time to time I respond to invitations and suggestions from  the outside world, but then I also work on my own projects. I’m less  productive than in the years I was doing commissions, but I’m less  stressed. The challenge with a commission is to come up with something  that fits the required specification, the pleasure is to be told that it  does fit and that you have actually surpassed expectations. 

What are the special challenges/pleasures of working with particular musicians, singers, ensembles and orchestras? 

It always helps if you have the sound of a particular artist or ensemble in your head as you write: you’re writing specially for them. I always try to find out as much as I can in advance about who I’m writing for.  If it’s a group I’m thoroughly familiar with – King’s College Choir in the radiant acoustic of its chapel – I’m half way there before I start.  It’s a poor composer who can’t craft a piece well for its intended  performers. The problems can start when other groups, perhaps not as skilled as those you have written for, have difficulty and think your  music is unreasonably hard, or maybe they just don’t get it. 

Of which works are you most proud? 

That would be like admiring yourself in the mirror. I don’t think about my past work except when I find myself conducting it. I just want the next  piece I write to be the best yet. 

How would you characterise your compositional language? 

Eclectic. Conservative. Accessible. But I hope recognisable as my own. 

How do you work? 

Hard, but not as hard as I used to. 

Who are your favourite musicians/composers? 

Too many to list. There’s no reputable musician/composer from whom you can’t learn something. If I dislike what I’m hearing, I tend to blame myself.  

As a musician, what is your definition of success? 

To have achieved at least part of what you set out to do. 

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

Be very, very good at what you do if you possibly can. Work harder and more perseveringly than anyone round you. Prepare thoroughly. If you are a performer, try to be true to the composer’s vision; if you are a composer, be true to yourself. If you have a spark of something, it will communicate, regardless of style. 

Where would you like to be in 10 years’ time? 

Still on this earth and working. 

What is your idea of perfect happiness? 

Being too busy to think about it. 

What is your most treasured possession? 

I don’t rate possessions. 

What do you enjoy doing most? 

Enjoying a meal with family and friends after a concert or recording has gone well. 

What is your present state of mind? 

Immersed in my current projects.

John Rutter was born in London in 1945 and studied music at Clare  College, Cambridge. His compositions embrace choral, orchestral, and  instrumental music, and he has co-edited various choral anthologies  including four Carols for Choirs volumes with Sir David Willcocks and the Oxford Choral Classics  series. From 1975-9 he was Director of Music at Clare College, and in  1981 formed his own choir, the Cambridge Singers, as a professional  chamber choir primarily dedicated to recording. 

Rutter’s choral works, including his Requiem and Gloria, are frequently performed around the world. In 2003 Mass of the Children, a major work for adult and children’s choir, soloists, and orchestra,  was premiered in New York’s Carnegie Hall conducted by the composer.

johnrutter.com

 

 

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At the risk of sounding clichéd, the coronavirus pandemic has thrown into sharp focus the precarious nature of most professional musicians’ lives. With concert and opera venues closed – and only now beginning to reopen cautiously – many musicians have been faced with the very frightening situation of being without any means to earn money. This survey by Encore, the musicians’ booking platform, reveals the current dire state of the UK music industry.

The profession has always been unstable. Most musicians are self-employed and many combine performing with teaching to supplement meagre concert fees – high salaries are reserved only for the ‘celebrities’ at the very top of the tree. For most, concert and teaching fees are not truly commensurate with the amount of time and commitment musicians must put in to sustain their careers. There are few jobs in the developed world which are so highly skilled yet so poorly remunerated, and many musicians are simply not economically resilient. The events of this year have highlighted this to an even greater extent, and there is absolutely no guarantee that life will return to “normal” for musicians when venues do re-open. Added to this, there exists a certain societal misunderstanding, sometimes bordering on contempt, for people who make a living in non-standard ways – musicians, writers, artists, actors. The inference is that these people should get “a proper job” and quit moaning.

During lockdown, and its aftermath, those musicians for whom teaching provides a significant part of their income have fared better than those for whom concertising is the only source of making money. But for the professional performer, the lack of concert engagements can feel like the loss of a limb because for many musicians their very identity and raison d’être is defined by performing.

“We’re going to have to be a lot less fancy in future” remarked a concert pianist friend of mine, when we were talking about the effect of the pandemic on concerts and concert-going in the early days of the UK lockdown. He means, to be brutally frank, “beggars can’t be choosers“. Venues and concert organisers/music societies will have less cash to spare and musicians will be chasing fewer engagements; an already competitive profession is likely only to become even more cut-throat. As a consequence, musicians will have to take the work when the opportunity arises without worrying about the prestige of the orchestra, ensemble, or venue.

To accept that the profession, for which one has spent many years training and honing one’s craft and one’s skills, putting in hundreds of hours of practicing and, as a consequence, giving up many aspects of life which other people outside of the profession would consider “normal”, can no longer be one’s primary source of income comes as a bitter blow to many musicians. When one’s identity is defined by one’s music-making and one’s very personal attachment to one’s chosen instrument, it can feel like an attack on one’s very body and soul.

“Portfolio career” is a fashionable term for “doing a variety of jobs” and musicians are masters of the peripatetic working life. Now more than ever, a willingness to be adaptable is crucial – and that may mean drawing one’s main income outside of music.

Some musicians regard this as a sign of failure, but why should there be shame in taking work outside of the profession? Maybe now is the time to be less squeamish about “non-musical” jobs? In straitened times, pragmatism must come before art, and if that means taking a job outside the profession, there should be no shame in doing this: you are no less a musician just because it is not your main source of income.

Unfortunately, the musician’s training tends to discourage looking outside of the profession for work. Sure, you might have worked in a bar or helped with front of house duties at a concert venue when you were a student, but very few conservatoires and music colleges offer specific courses in business skills and entrepreneurialism for musicians – from the basics of setting up a personal website to more sophisticated self-promotion, marketing and PR. In addition, they do not necessarily encourage students to consider other careers within music, such as arts administration or orchestral management, publicity/PR/marketing, music publishing, or working for a venue or recording label. Conservatoires train musicians to be performers and many continue to peddle the idea that a career as a performer is a sustainable one.

Of course, working outside the profession comes at a cost to one’s practice regime: if you’re doing a 9 to 5 job elsewhere, you still have to find the time to practice – and that’s a full-time job even without concerts.

I’ll close with some thoughts from musician friends and colleagues:

I really never want to give it up as a profession. After a few days not practicing I lose a lot of mechanism, so going into a 9-5 job would devastate everything I’ve worked for. But undoubtedly this will see people off…..There never was a “career”. I still don’t really know how it’s meant to work, I just got called for random things that all added up. I had an amazing last 10 years and I hope to God it’s not over. There’s always playing but it wouldn’t be the same. A lot of us have been very, very lucky to get to do this. (RS)

I am a great believer in turning everything to one’s advantage, and I feel that this could be a very liberating time in which musicians can feel that they have permission to explore other interests and career paths which they may have otherwise put on hold. As a pianist, I feel that I identify so strongly with that vocation that to choose any other direction would be a betrayal of that identity, and deemed by others to be a strange decision or even a sign of a lack of success in that area. Musicians are under huge pressure to always look busy with their music, and even made to feel guilty when doing something other than practising(!) – there is no shame in admitting that music isn’t actually the *only* thing which makes you tick. (LKP)

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We all knew the Proms would be different in this, the year of coronavirus (or The Virus, COVID-19, the Rona….). Rather than cancel the entire festival, the BBC came up with a compromise – a truncated festival which involved, in the first weeks, broadcasts of previous Proms, not necessarily a “best of the Proms”, but rather a selection of memorable or particularly striking performances and performers. I enjoyed these broadcasts, revisiting Proms of years past and recalling the excitement and pleasure of attending Prom concerts, which I have done since I was a little girl – that special atmosphere in the Royal Albert Hall which is like no other (for all the right, and wrong, reasons!).

For the last fortnight of this year’s season, the BBC broadcast live Proms from the Royal Albert Hall and a handful of other venues around the country. These included performances by the LSO with Simon Rattle, the Aurora Orchestra playing Beethoven 7 from memory (why?!), Benjamin Grosvenor and Mitsuko Uchida, violinist Nicola Benedetti, and Sheku and Isata Kanneh-Mason. Some performers originally booked to appear were not able to travel to London due to the UK government’s confused, scattergun quarantine rules, so others valiantly stepped in at the last minute. The programmes often reflected our strange times – music of quiet intimacy (Kurtag’s … quasi una fantasia …, performed with incredible delicacy by Mitsuko Uchida, following an equally compelling and introspective first movement of Beethoven’s ‘Moonlight’ sonata), hope (Vaughan Williams’ 5th Symphony, first heard at the Proms in the midst of the Second World War), reflection and memorial (Ravel’s Tombeau de Couperin), confidence (the rollicking joy of the finale of Beethoven’s 7th Symphony gave a much-needed boost to those of us who feel utterly ground down by the long months of lockdown and restrictions on daily life – including concert-going). The Last Night of the Proms, this year the subject of even more pearl-clutching and eye-pulling than usual, ended up as a compromise; bereft of its usual jollity and silliness (at least in the second half), it felt restrained and subdued, as if too much exuberance and celebration, balloons and whistles, flag-waving and a good old massed sing-along were inappropriate in these corona times.

There is no question that in all the live concerts the music was performed with absolute commitment. Watching the musicians (and thanks to lots of clever camera work, it was possible to read the range of emotions experienced by the musicians as they played), one sensed a collective sigh of relief, that they were working again, doing what they do best, united after long months of separation.

But something was missing. A very big something – and that was an audience. The Proms aren’t really the Proms without an audience, some 5000 people filling the Albert Hall’s vast auditorium with an infectious enthusiasm for the amazing shared experience that is live music. Admittedly, the BBC and Proms organisers tried their best this year to inject some “atmosphere” into the concerts by placing members of the brass section or singers in the boxes around the hall, enhanced by sexy lighting effects and clever camera angles. But for me all this did was to highlight the sad fact that there was no audience presence. It looked contrived, artificial – and perhaps the worst thing, in my humble opinion, was that it seemed to reinforce the notion that classical music is a ‘museum piece’, to be admired, revered even, from afar, instead of a living, breathing, vibrant artform.

The Albert Hall is vast; it would not have been impossible to bring in a limited, socially-distanced audience, but the organisers’ timidity regarding this reflects, to me, a general timidity amongst bigger organisations and institutions towards the resumption of live performance. It is possible to present live concerts within the current government restrictions – and the Proms could have led the way in this, signalling that live music, with an audience, is far from dead.

Let us hope that the 2021 Proms festival is able to go ahead in its “normal” format, with a full Albert Hall, a roster of fine musicians and a varied programme of great music.

All the performances are available to listen to/watch via the BBC Proms website

(Header image: BBC)