The recipient of the 2012 City of Leipzig Bach Medal, Masaaki Suzuki has earned an enviable reputation as an interpreter of the music of J. S. Bach as a reviewer in Intl Record Guide has put it: 'With Suzuki you can hear Bach's heart beat'. To a wide audience he is known as the director of Bach Collegium Japan, and the moving force behind the ensemble's acclaimed recordings of Bach's complete sacred cantatas. Perhaps less well known is that he began his career at the age of 12! playing the organ at church services in Kobe, where he was born. Suzuki has remained true to the organ throughout his life, and for BIS he has previously recorded Bach's German Organ Mass, as well as programs of Buxtehude and Sweelinck. He here appears on a disc combining some of Bach's best-loved works for the instrument, including the D minor Toccata and Fugue, the Partitas on O Gott, du frommer Gott, BWV 767, the Canonic Variations, BWV769, and the celebrated Prelude and Fugue in E minor, BWV548.
The two films on this DVD combine some of the most demanding chamber works ever written. Recorded at the atmospheric Academy of Sciences in Budapest, the Keller Quartet plays a version of Bach’s unfinished masterpiece The Art of the Fugue for string quartet intertwined with works by renowned contemporary composer György Kurtág – a programme that the four Hungarians developed and have successfully performed on international stages. Anner Bylsma, Dutch master cellist and world-renowned as a distinguished interpreter of Bach’s cello music, plays the solo suites. The suites, on which he has also published an authoritative book, count among the most popular baroque chamber works. Anner Bylsma plays the famous Stradivarius “Servais” and the disc was recorded in the beautiful village church St Bartholomew of Dornheim in Thuringia.
This new version by the greatly-gifted young Hungarian pianist Zoltan Kocsis, again vindicates the contention that The Art of Fugue makes its best effect as a keyboard work, even if on a modern piano. For Kocsis Bach's intellectual and technical demands seem to pose no problems: his exposition of the polyphonic conversation, whether, two, three or four participants are involved, is always admirably lucid and enables each voice to have its say. This is no doubt helped by the rather dry quality of the Hungaroton/ Philips recording on LP (the CD is appreciably fuller and brighter), and by Kocsis's very discreet use of the sustaining pedal.
What you will find on this disc is A) contrapunctus I-IX played on two different organs in 1962; B) contrapunctus I II & IV from a1981 TV broadcast; C) contrapunctus IX XI & XIII in mono from a radio broadcast in 1967; D) the unfinished contrapunctus XIV from what may or may not be the same TV broadcast as B); and as a final filler E) a prelude and fugue on the name BACH from a studio recording in 1980. Items B)-E) are given on the piano.
…And Hyperion's sound captures Hewitt's performances in sound as clear and warm as the rest of their wonderful recordings. A magnificent conclusion to a monumental cycle, Hewitt's final Bach disc will appeal to anyone who loves life and Bach.