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GRAMOPHONE : (02/2013)
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BIS1961
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Reviewer: Lindsay Kemp
Suzuki’s cycle nears its end with
one-off cantatas
Works assembled for one-off occasions may not at first sound like the most
gripping subject for the latest volume of church cantatas from Masaaki
Suzuki, but then, this is Bach, and it seems unlikely that anyone who heard
these expertly crafted pieces grace two weddings (BWV120a and
BWV195), one memorial service (BWV15 7) and one event unknown (BWV192) would
have felt short-changed, even if they had been aware that some of the music
was recycled from earlier use. BWV120a features an aria derived from
the ravishing Cantabile of the Violin Sonata BWV1O19a and an
organ concerto movement based on the sunny Preludio of the E major Solo
Violin Partita, as well as a chorus that would resurface as ‘Et exspecto
resurrectionem’ in the B minor Mass; but if that suggests a whiff of the
workshop, there is no lack of quality or authenticity of feeling here, nor
indeed of freshness. Who could think anything ‘phoned-in’ about the
gigue-finale to BWV192, the flutes that encircle the soprano recitative in
BWV195 or the same cantata’s outrageously charming and ‘modem’ galant-style
aria for bass?
Suzuki accords these works the same level of respect as Bach
did, consistently striking the right balance between either joyous celebration
or sober reflection and a controlled dignity proper to the occasions they
adorned. His choir and orchestra perform lovingly as ever, phrasing with
profound taste and intelligence, and benefitting from sound and balance judged
to perfection. The soloists are for the most part no less stylish or appealing,
with Peter Kooij putting in a particularly solid stint. Three of them had
recorded the B minor Mass with Herreweghe only a month before making this CD
(PHI, 8/12) and the exception, Christoph Genz, seems less secure than they;
indeed, his rather reedy voice comes under pressure in higher passages. But that
doesn’t stop this disc of Bach-to-order from being full of delights.
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