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Reviewer:
Jonathan Freeman-Attwood
The symmetrical layout of the programme embodies the kind of parlour game that Bach would have appreciated – a pair of Preludes and Fugues framing the whole, working towards the middle with two versions of the same chorale prelude, two Vivaldi transcriptions and with the great 20-minute chorale partita Sei gegrüsset as the fulcrum. The structure serves a significant purpose, as we soon discover. Suzuki’s climb to the heart of the partita is made all the more searching because the palate seems ideally prepared for the richly diverse registrations that characterise the organist’s eloquent reading. Indeed, the variations on ‘Sei gegrüsset’, bursting as it is with a serious young composer’s desire to pay homage to his possible teacher Georg Böhm, fit round the Garnier’s quixotic turns like a glove. Var 5 quacks with a naturalist’s delight and the penultimate variation offers such subtly complementary timbres between chorale and paraphrase as to capture perfectly the inner thread of the work’s open-hearted faith. The C major works are intermittently compromised by the organ’s ‘tough’ mean-tone tuning but Suzuki’s exceptional rhetorical placement and fine judgement prevails. The Groningen volume may enjoy a greater kaleidoscopic range than this reflective and carefully navigated recital but Suzuki never disappoints. In fact, quite the opposite: this volume says ‘Vol 2’ (the first disc had no number) and so we anticipate a series that will take Bach into new spheres while also thrillingly recalling the great Piet Kee, Suzuki’s teacher. |
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