Shigeyoshi Suzuki

Suzuki presents the 1749 version of the St. John Passion, a work that underwent many changes since its first performance in 1724. This fourth version, performed at the end of Bach's life, represents his ultimate vision of this great work. (Suzuki includes in an appendix three arias from the 1725 version that Bach removed from this later version.)

When he died, Nicolaus Bruhns was just 31 years old, and only twelve of his vocal works and five organ compositions have survived. On the strength of these, he is nevertheless considered one of the most prominent North German composers of the generation between Buxtehude and Bach. Buxtehude was in fact Bruhns teacher, and thought so highly of him that recommended him for a position in Copenhagen. There he worked as a violin virtuoso and composer until 1689, when he returned to Northern Germany to become organist in the main church of Husum. It was here that most if not all of the extant works were performed.

Listeners familiar with other recordings in Masaaki Suzuki's ongoing traversal of Bach's solo keyboard works may find his performances of the Partitas somewhat of an anomaly. For instance, the sharply delineated juxtapositions of tempos that made his Fantasias and Fugues program so thrilling (type Q3840 in Search Reviews) are nowhere to be heard here. The interpretive agenda this time is much subtler and decidedly more introverted.

Strong but delicate, deliberate but subtle, driven but supple, Masaaki Suzuki's 2005 recording of Bach's Italian Concerto and French Overture for harpsichord are quite convincing in their own distinctive way. In Suzuki's hands, the opening crash of the Italian Concerto is as instantly arresting as the powerful opening prelude and fugue from the French Overture is immediately appealing.

Listening to this irresistibly joyful and magnificently musical set of Bach's Brandenburg Concertos and Orchestral Suites, one is immediately struck by two thoughts. First, Masaaki Suzuki and the Bach Collegium Japan have been wasting their time concentrating on Bach's dour cantatas, and second, Bach himself was wasting his time writing his melancholy church music when he could have been composing infinitely more cheerful secular music. While Suzuki and his crew have turned in superlatively performed, if spectacularly severe recording of the cantatas, they sound just as virtuosic and vastly more comfortable here.