Medea Bindewald


Medea Bindewald started playing the harpsichord at the age of 8. She became a young student (Jung-Studentin) at Musikhochschule Mannheim at the age of 16. After having graduated from high school,  Medea studied harpsichord in Freiburg and Cologne, where she graduated with distinction in 2001 and passed her concert exam in 2003. She participated in master classes with Gustav Leonhardt and was awarded scholarships to attend courses at the International Handel Academy at Karlsruhe and the European Academy for Music and Theatre at Montepulciano. She further developed her skills in continuo playing by studying with Jesper Christensen at the Schola Cantorum Basiliensis.

Medea was a finalist at the Solo Competition of the Deutscher Musikrat in Berlin in 2001 and won second prize at the Deutscher Hochschulwettbewerb in Saarbrücken in 2003. She received an honourable mention at the renowned Musica Antiqua Competition of the Flanders Festival in Bruges in 2004.

She performs in Germany, Britain and other European countries both as a soloist and chamber musician and has been invited to play at Kultursommer Rheinland-Pfalz, Festival de Música Antiga Barcelona, Forum für Alte Musik Freiburg, Tage Alter Musik Bamberg, Schlosskonzerte Bad Krozingen, Heidelberger Frühling, Bruchsaler Schlosskonzerte, Horniman Museum London, Handel & Hendrix in London and Stour Music 2017. She has made live appearances on West German Radio's programme TonArt (WDR3) and on BBC Radio Leicester. From 2003 to 2010 she taught at the University for Music and Theatre "Felix Mendelssohn Bartholdy" Leipzig.

Medea is member of a trio, Vermilion, joining forces with Nicolette Moonen (violin) and Susanna Pell (viola da gamba). Her CD, Jacques Duphly Pièces de Clavecin (with Nicolette Moonen), released in March 2014 at Coviello Classics, was awarded "5 de Diapason". Medea was featured musician of the month at Handel House Museum London in October 2014. In 2016, Medea Bindewald was invited to be Guest Editor of the British Harpsichord Society's online magazine Sounding Board. Her CD 'Jacob Kirkman, Lessons and Sonatas' (Coviello Classics, with Nicolette Moonen, violin) was released in January 2017.

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Short Profile

NameBindewald, Medea
Born inGermany, Europe
Home LocationLoughborough, United Kingdom
Main languageGerman
attended UniversitiesHochschule für Musik Freiburg, Hochschule für Musik und Tanz Köln, Schola Cantorum Basiliensis
2017-06-26 Aalener Kulturjournal and Schwäbische Post, Aalen
"What Medea Bindewald brings out of her double manual harpsichord is unique. As soon as Bindewald plays, she enters a symbiotic relationship with her instrument. Her entire body language strives towards the right sound. […] Right from the opening pieces by Jean-Philippe Rameau, she gives us an insight into the varied sound world of the harpsichord. (Schwäbische Post 26.6.17)

Medea Bindewald, well-known and cherished throughout Europe from numerous performances at festivals and summer cultural events, shone in her interpretation of the tempestuous runs and the exuberant cascades of sound. […] The ease with which the rapid runs were played and the structural shaping of the pieces made the concert a great experience. (Schwäbische Post 26.6.17)

It is not simply the perfection and brilliance of her playing that is charming, but also the extraordinary intensity with which the music resonates. Medea Bindewald approaches the French masters melodically, song-like, sparklingly and with great dexterity. With Mozart the mode of expression is carefully differentiated […]. And thus Bindewald's "Exotic Worlds" prove literally to be kind of borderless world music, in a manner which would certainly have delighted Mozart. (Aalener Kulturjournal June 2017)
(Herbert Kullmann/Aalener Kulturjournal, Benedikt Walther and Johannes Müller/Schwäbische Post, translation from German: Jeremy Leaman)
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Elegance, Esprit and Charm
2017-02-16 WDR3 TonArt German Broadcast, CD review, Köln
"Skilfully, pianist Medea Bindewald plays with the potential [of the Broadwood square piano]. She shapes the melodic phrases with great taste, her fingers moving elegantly and versatilely across the ancient keys."
(Jan Ritterstaedt)
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2015-06-29 musica Dei donum,
"Medea Bindewald has made a representative selection from Duphly's four books, and delivers splendid performances. I especially like her subtle application of the notes inégales, for instance in La Forqueray which opens her programme. La Pouthouïn receives a quite dramatic performance.Nicolette Moonen is responsible for the colourful performance of the ad libitum violin parts."
(Johan van Veen)
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5 de Diapason for CD Jacques Duphly, Pièces de Clavecin (Coviello Classics)
2014-07-01 Diapason no. 626, Montrouge Cedex, France
"[...] Medea Bindewald seduces us with her performance on a fine harpsichord of the French school [...], that she plays with the delicacy, the fire and the conviction of an accomplished artist. The original ideas about registration, which are applied with discretion, as well as her subtle work on the jeu inégal show that the delicate development of the interpretation of French music often comes from our neighbouring friends…

The added ornaments refresh the ways in which we listen. The sense of construction is as admirable in the sizeable Chaconne as it is in the modest yet touching Rondeau in C. La Médée deploys a wonderful vigour without ever yielding to brutality.

Supported by the excellent [violinist] Nicolette Moonen, the German harpsichordist presents a remarkable version of the pieces with violin, which is sensitive to the dance as well as to the theatrical dimensions of the musical language. This beautiful version will be ranked equal to the complete recording by Christophe Rousset.
(Philippe Ramin)
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Radio Review of CD Jacques Duphly, Pièces de Clavecin
2014-03-27 SWR2 Alte Musik, Baden-Württemberg, Germany
"Medea Bindewald [...] plays this music with the ideal blend of tenderness and drive, with a lot of taste and feeling for the wide range of nuances, which – as is so often the case with French music – only make their appearance in between the lines."
(Doris Blaich)
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