Born in Hamburg, as a student of Ludwig Deppe, Bandmann was one of the first to have a clear theoretical understanding of the use of weight in piano technique.
She collaborated with Friedrich Adolf Steinhausen, who wrote his fundamental work on the physiological principles of piano technique (1905) at her suggestion.
She herself described the principles of weight technique in her 1907 treatise Die Gewichtstechnik des Klavierspiels,[1] in whose introduction Steinhausen writes: "Bandmann's work forms the continuation and completion of my study".
Together with other pianists and piano pedagogues - mostly students of Deppe, such as Amy Fay, Elisabeth Caland, Hermann Klose and Horace F. Clark-Steiniger - Bandmann made a decisive contribution to the transformation of piano technique from the "finger technique" to the "weight technique": a transformation that took place at the end of the 19th century and the beginning of the 20th century and had its most important supporters (although often with the most different positions) in Rudolf Maria Breithaupt in Germany, Blanche Selva in France, Tobias Matthay in England and Bruno Mugellini [it] in Italy.
Ydefeldt, Stefan, Die einfache runde Bewegung am Klavier: Bewegungsphilosophien um 1900 und ihre Auswirkungen auf die heutige Klaviermethodik, (2018) Augsburg: Wissner Verlag orig.