Masaaki Suzuki & Bach Collegium Japan
Bach Cantatas & Other Vocal Works
General Discussions - Part 5

Continue from Part 4

Suzuki 36

Thomas Shepherd wrote (August 17, 2007):
BIS has announced issue of Suzuki vol. 36
and MDT Classical music mail order in the uk: http://www.mdt.co.uk/ has a fantastic reduction on all BIS recordings -( including pre-orders of vol. 36 )

Peter Bright wrote (August 17, 2007):
[To Thomas Shepherd] I've had this for a while (via a Polish distributor) - even by Suzuki's high standards it's absolutely fantastic... Destined to be one of my overall favourites (along with vols 5, 10, 12 and 14).

Suzuki, Vol. 37 - Robin Blaze Makes the Cover

BWV846-893 wrote (November 3, 2007):
This is a new look for the cantatas series: Amazon.com

The first time that either Bach or Suzuki is not on the cover. It makes sense to have a picture of Blaze since these are all alto solo cantatas (BWV 200 is just the surviving aria).

I'm looking forward to hearing Blaze's reading of "Vergnuegte Ruh." I think that his alto arias have been a highlight in the Suzuki series. A refreshing change from more hooty countertenors (he's also great, IMO, in McCreesh's recording of Handel's "Theodora").

Cara Emily Thornton wrote (November 4, 2007):
[To BWV846-893] Greetings!

Since we are on the subject of countertenors/male altos, I haven't heard much about Paul Esswood here on list. Does anyone know much about his work, if so, what are the opinions out there?

God bless all

Francis Browne wrote (November 5, 2007):
My apologies if everybody on the list is already aware of this but if you want to listen not simply to an extract but to the whole CD of Suzuki Vol.37 all volumes of Suzuki's cantata cycle(and those of John Eliot Gardiner and Rilling,) are available on Naxos Music Library. If your local library or university subscribes, you have access to this music and a vast library of other recordings by logging in with the number of your library card.

If your local library does not subscribe, it would be worthwhile starting a campaign -I have found it an invaluable way of listening to recordings of Bach that I could not afford and also of becoming acquainted with the a far wider range of music than was previously possible.

(Vol 37 is excellent, performances that make me listen again to music which I thought I was familiar)

Jean Laaninen wrote (November 5, 2007):
[To Francis Browne] Thank you, Francis. I did not know about this service, and I will check with the libraries in the area. Even a monthly fee for near CD quality listening is just $ 15.00/month. Right now I don't plan to add this to my expenses, but with the issues of air polution and heavy traffic and wear and tear on a vehicle, the day might come. I have been in a couple of music download services (a different category here) in the past, and the convenience is hard to beat.

BWV846-893 wrote (November 5, 2007):
[To Jean Laaninen] You can listen to 1/4 of each track for free (after you create a free account under your email): http://www.naxos.com/catalogue/item.asp?item_code=BIS-SACD-1621

Suzuki Vol 38

John Pike wrote (April 26, 2008):
My copy of Suzuki's cantatas vol. 38 arrived this morning. Throughout the booklet and elsewhere, BWV 82 is given as "Ich habe genuNg". Is this a careless mis-spelling or is there a more simple explanation?

Aryeh Oron wrote (April 26, 2008):
John Pike asked:
"Throughout the booklet and elsewhere, BWV 82 is given as "Ich habe genuNg". Is this a careless mis-spelling or is there a more simple explanation?"

This is not a mistake, but an old German.
I recall that this issue has been already been discussed in the BCML, but I do not have the time now searching for it in the 7 discussion pages of this sublime cantata.

Bradley Lehman wrote (April 26, 2008):
[To Aryeh Oron] I suspect Aryeh is remembering footnote 1 at this page: http://www.bach-cantatas.com/CM/Es-ist-genug.htm

Francis Browne wrote (April 26, 2008):
On the subject of Suzuki Vol. 38 on the back cover of my copy tracks 17-21 are listed as Bekennen will ich seinen Namen BWV 58. The booklet lists correctly Ach Gott, wie manches Herzelied. I e-mailed BIS but without reply.

My favourite example of careless proofreading is the cover of my Oxford Classical Text of Ovid's Metamorphoses which boasts that these texts 'are renowned for their liability and presentation.'

Stephen Benson wrote (April 26, 2008):
(Getting OT) Suzuki Vol 38

Francis Browne wrote:
< My favourite example of careless proofreading is the cover of my Oxford Classical Text of Ovid's Metamorphoses which boasts that these texts 'are renowned for their liability and presentation.' >
This may open up a can of worms -- we all have our favorites -- but my own personal favorite proofreading glitch occurs in the directions provided by New York State for its middle-school social studies exam: "Please read over your essay to make sure you have not make any mistakes."

John Pike wrote (April 27, 2008):
[To Bradley Lehman & Aryeh Oron] Many thanks to Brad and Aryeh for this.

John Pike wrote (April 27, 2008):
[To Francis Browne] Wouldn't have happened if Aryeh had been on the production team.

John Pike wrote (April 27, 2008):
[To Stephen Benson & Francis Browne] Both of thye se are absolutely classic. Brilliant!

Suzuki Vol. 41 (was: BCML messages)

John Pike wrote (January 21, 2009):
OK, folks. It really IS time to get back on topic, so could we have some comments please on Vol. 41 of Suzuki's Cantata series which I was enjoying last week. 4 beautiful cantatas (including the E minor soprano version of BWV 82). I enjoyed the CD very much. Typically polished performances from Suzuki's team. I still think it lacks something that one gets with Gardiner's live performances, but very pleasant nevertheless. Comments please.

Kim Patric Clow wrote (January 21, 2009):
John Pike wrote:
< So could we have some comments please on Vol. 41 of Suzuki's Cantata series which I was enjoying last week. 4 beautiful cantatas (including the E minor soprano version of BWV 82). >
Do you know if Suzuki or J.E.G. will release BWV 1045 in their recordings of the cantatas, I was curious since we've discussed it recently. Do you know how many vols will be issued in the Suzuki edition?

< I enjoyed the CD very much. Typically polished performances from Suzuki's team. I still think it lacks something that one gets with Gardiner's live performances, but very pleasant nevertheless. >
I love the hall Suzuki records in, which has a wonderful resonance, but I agree JEG has a more dramatic flair with his versions of the Bach cantata.

John Pike wrote (January 21, 2009):
[To Kim Patrick Clow] I must confess I don't know about either of these. I will have a look on BCW later to see if the info is there. If not, I will send an e mail to Monteverdi.

Gosh, you get up early...it must be not yet 5am in NYC at the moment.

Kim Patric Clow wrote (January 21, 2009):
John Pike wrote:
< I must confess I don't know about either of these. I will have a look on BCW later to see if the info is there. If not, I will send an e mail to Monteverdi. >
Thanks, I really appreciate that.

< Gosh, you get up early...it must be not yet 5am in NYC at the moment. >
Yes, I've been working on several editions overnight and it's been a busy day watching the presidental changing of the guard too!

Thanks again for your help.

John Pike wrote (January 21, 2009):
[To Kim Patrick Clow] The complete BCP is given here: http://www.solideogloria.co.uk/resources/sdg_cantatas_index.pdf

BWV 1045 is not included in the BCP.
I will look into Suzuki.

Suzuki Bach Cantata Series

John Pike wrote (January 21, 2009):
[To BIS Recordings] I am a member of, and regular contributor to, the Bach Cantatas Mailing List, which operates from the website www.bach-cantatas.com.

I am wondering whether you know yet how many volumes there will be in Suzuki's cantata series, which cantatas will be on each disc, and the release date of each disc. I am also wondering whether the instrumental fragment, BWV 1045, which is thought to be a fragment from a lost cantata, is included in the series.

Thank you very much for your help.

Ed Myskowski wrote (January 21, 2009):
John Pike wrote (copy of communication to Bis):
>I am a member of, and regular contributor to, the Bach Cantatas Mailing List, which operates from the website www.bach-cantatas.com.
I am wondering whether you know yet how many volumes there will be in Suzuki's cantata series, which cantatas will be on each disc, and the release date of each disc. I am also wondering whether the instrumental fragment, BWV 1045, which is thought to be a fragment from a lost cantata, is included in the series.<
I would appreciate hearing the response, or report that there is no response.

The other year year (BWV 62 archives), I tried to communicate with Bis, without success.

The topic was their little design motif which spells Bach with one note on two crossng staves, you need to see it, that is the best I can do with words. Very cleveer and cute. It was cited by several people, Alan Brugieres first, I believe, as evidence for the X-motif in Bach. I could find no evidence for it prior to the Suzuki Cantata Series, and I came to the working hypothesis that is a current design, in 18^th C. style, specifically for the CD packaging. I was unable to get Bis to confirm this, in fact I got no reply at all to several inquiries. I believe this is the first time I have mentioned it to BCML, as I was hoping for something conclusive to report. Absent that, it fell by the wayside.

Other good stuff in the BWV 62 archives (particularly rich!), the Benson-Mincham dust-up and resolution I already mentioned, and the Brugieres-Myskowski parallelogram dissection.

BCW, better than a book!

Bruce Simonson wrote (January 22, 2009):
Suzuki Bach Cantata Series - Bach staff icon

< The topic was their little design motif which spells Bach with one note on two crossng staves, you need to see it, that is the best I can do with words. Very cleveer and cute. >
If this is a description of what I think it might be, the design is used by the Stuttgart Bachakademie.

Lookee here: http://www.bachakademie.de/

Ed Myskowski wrote (January 22, 2009):
EM:
> The topic was their little design motif which spells Bach with one note on two crossng staves, you need to see it, that is the best I can do with words. Very cleveer and cute. <

Bruce (hmm, care to supply a middle initial?):
>If this is a description of what I think it might be, the design is used by the Stuttgart Bachakademie.
Lookee here: http://www.bachakademie.de/<
EM:
That is it!! (that is as loud as I ever shout)

I interpret the fact that Bis never responded to my inquiries regarding the source to indicate that they are using it without permission. Who knows what evil lurks in the hearts of men? The Shadow Knows! (Coasters tune, as well, for the very hip).

I was so excited to see it, that I immediately got off the Bachakademie site to post confirmation to BCML. Can we date it (determine its age, that is)? Contempoary design or 18th C. would be really interesting. My working hypothesis (ever the Shadow) is that it is contemporaty, Bis borrowed it without permission, and mums the word all around. Mumms? Yur choice.

Thanks Bruce, I actually put some time into looking for it, without sucess, back the other year.

Kim Patric Clow wrote (January 22, 2009):
Ed Myskowski wrote:
> Can we date it (determine its age, that is)? Contempoary design or 18^th C. would be really interesting. My working hypothesis (ever the Shadow) is that it is contemporaty, Bis borrowed it without permission, and mums the word all around. Mumms? Yur choice. >
I asked my friends on the Finale users group and Dennis Collins (wonderful Monterverdi and Grandi specialist and musiclogist) wrote back and sugggested that it's not a copyrighted symbol: "it's a musical spelling of Bach's name: four different clefs (or rather 3 clefs, one of which with 2 different key signatures) spelling out BACH. Davitt Moroney used it on the cover of his little book on Bach."

Ed Myskowski wrote (January 22, 2009):
Ed Myskowski wrote:
> Can we date it (determine its age, that is)? Contempoary design or 18th C. would be really interesting. My working hypothesis (ever the Shadow) is that it is contemporaty, Bis borrowed it without permission, and mums the word all around. Mumms? Yur choice. <
KPC replied:
< I asked my friends on the Finale users group and Dennis Collins (wonderful Monterverdi and Grandi specialist and musiclogist) wrote back and sugggested that it's not a copyrighted symbol: "it's a musical spelling of Bach's name: four different clefs (or rather 3 clefs, one of which with 2 different key signatures) spelling out BACH. Davitt Moroney used it on the cover of his little book on Bach." >
EM:
I was about to post an addendum, when I saw Kims reply. I originally wrote (in characteristically Shadowy prose, perhaps even Joycean?) that I thought Bix lifted it from Bachakademie (sp?). In fact, more likely .just the other way round.

In the Bis design, the staves approximate a crucifix

In the Bachakademie design, in order to avoid looking like a crucifix, the staves are distorted to approximate an inverted electric chair. Go figure. You will just have to look at yourself, beyod words.

Which leaves open the question of who designed it, and when. I am still going with late 20^th C. creative CD packaging, absent better evidence. But it is so beautifully Bach, that you want to believe. Once you see it, you think <He could not have missed the opportunity. It must be him.>

That is the problem with belief, with faith, for me. It is seductive. I want science, first, then we can talk ...

Do I sense a hint of the moderators soothing influence? Always welcome.

Randy Lane wrote (January 23, 2009):
[To John Pike] I've never seen a "plan" for the Suzuki series.

I remember an interview article somehwere when the series reached a volume milestone, like Vol 25 or Vol 30, in which Suzuki was asked about the possibility/probability of the series becoming a "complete" set. Maasaki's response was that he just wanted to "keep going".

You might get a better response if you post your question on the rec.music.classical.recordings newsgroup (you can use a Google account and Google Groups to do so if you do not use a USENET reader. The President/CEO of BIS, Robert von Bahr, frequently corresponds on that group, especially if BIS material enters the discussion.

Robert, one of the only real "Class Acts" left in the recording business, is on a leave of absence because of cancer, but he can still be heard from on that newsgroup. Pray for him. He's fighting the cancer, and appears to be winning the battle, but cancers have a strange way of taking out even the best of us.

Kim Patric Clow wrote (January 23, 2009):
I mentioned in a previous post what my friend Dennis Collins told me about the Bach staff icon (it's apparently known as the Bach signature cross / Bach motif because it's a musical term related to a musical spelling of Bach's name). Dennis was very gracious to write back with more information: "According to Wikipedia, it's fairly recent:

'BACH signature cross, used to depict the motif as early as the 20^th century, but not known to have been used by Bach himself.' [ http://en.wikipedia.org/wiki/BACH_motif ]

I don't think there can be any copyright on it, but I'm no lawyer.

Very tangentely Finale-related: the nice version with Bach-style old clefs used on the cover of Davitt Moroney's Bach book (the original edition, in French) was actually done specially for the book by Dominique Montel (creator of the Berlioz notation program)."

An copy of the beautiful book cover can be viewed here: http://www.collins.lautre.net/files/bach.jpg

Douglas Cowling wrote (January 23, 2009):
Kim Patrick Clow wrote:
< 'BACH signature cross, used to depict the motif as early as the 20^th century, but not known to have been used by Bach himself.' >
I first encountered it in the 1960's in the C.F. Peters catalogue of Bach's Organ Works. I'd be curious know if there are other similar musical anagrams which are contemporary with Bach. Given the composer's self-conscious use of his own name, it's not implausible that he enjoyed such a exercise.

The Christus Coronabit Crucigeros canon is not far off in spirit. If you haven't heard of the secret of this canon, check this analysis: http://jan.ucc.nau.edu/~tas3/crownofthorns.html

Michael Marissen calls the three bar canon a microcosm of Bach's entire thought and music.

Bach [Masaaki Suzuki ] for those on a budget

Kim Patrick Clow wrote (February 25, 2010):
I just wanted to let you know e-classical has a very good deal [7.99] on a BIS recording ONLY AS MP3 format (320 kbit/s, High Quality.]

Motets BWV225-236, as well as the motets BWV 118 and BWV Anh. 159.
Maestro Masaaki Suzuki is also a virtuoso harpsichord player. In this instrumental recording he performs Fantasias and Fugues (BWV 903, BWV 904, BWV 906, BWV 917, BWV 918, BWV 922, BWV 944 and BWV 950). Also you will find Prelude BWV 921, Prelude and Fugue BWV 923 and BWV 951, Capriccio BWV 993 and Capriccio BWV 992. Classics Today 10/10, highest rating: "An outstanding release".

You can find out more @ :
http://www.eclassical.com/eclassic/eclassical?page=feb10-4

BIS has released a video about this recording as well:
http://www.youtube.com/watch?v=DoDDGFcUO8Q&feature=player_embedded

Neil Halliday wrote (February 26, 2010):
Kim Patrick Clow wrote:
> BIS has released a video about this recording as well:
http://www.youtube.com/watch?v=DoDDGFcUO8Q&feature=player_embedded <
Thanks for this link.

The brief samples are very beautiful, and Suzuki gives some interesting insights.

------

I also came across 'Bach St.John Passion Suzuki' on youtube.

Stunning! The entire work (in twelve sections)!

Including subtitles in English!

One thing I hadn't noticed before, just before the da capo in 'Ruht wohl', the vocal basses and continuo drop out (except for two separated bars of continuo) highlighting the upper voices and instruments to the words "the grave contains no further want, opens heaven for me, and closes hell"; and the entire upper ensemble (minus basses and continuo) comes to rest on the same unison Eb (Eb on the bottom line of the treble clef).

Suzuki has somes marvellous, expressive touches, eg, highlighting the flutes while quietening the violins in the last few bars of the ritornello, and contrasting dynamics on the repetitions of "Ruht wohl".

'Zerfliesse' is stunning. The turbae choruses are amazingly accurate and dramatic.

The sustained drama of the opening chorus is electrifying, as usual in good performances. The ensemble, including 16 vocalists and soloists, looks great! All vocal soloists are exceptionally pleasing.

[My only personal dislikes: "Erwäge" faster than ideal, with understated upper strings; likewise "Mein teurer Heiland" is too fast.]
http://www.youtube.com/watch?v=QJ0Vgb99tsQ&NR=1

(Each of the 12 sections is automatically displayed in succession. I hope you have reasonably fast broadband!)

Bach Collegium Japan: Vols. 40-42

William Hoffman wrote (March 30, 2011):
Musical Heritage Society's new offering:

The Society continues its survey of the stimulating series of Bach cantatas featuringMasaaki Suzuki and his Bach Collegium Japan with volumes 40, 41 and 42.

Volume 40 continues with more music from the "cantata year" of 1725. Four cantatas, BWV 137, BWV 79, BWV 168 and BWV 1644, are included. Of note is BWV 79, written to commemorate the nailing of the 95 Theses to the church door at Wittenberg by Martin Luther. It is as festive as it is revelatory. Volume 41 contains BWV 56, BWV 82, BWV 158 and BWV 84 and overall features prominent solo singing. BWV 82, "Ich habe genung" ("I am content/I have enough"), is one of the most famous of all of Bach's choral works. Carolyn Sampson gives the necessary melancholy in her reading and is quite effective, while BWV 158, "Der Friede sei mit dir" ("May Peace be with you"), was written for Easter week celebrations and is superb in its design and architecture. Finally, Volume 42 finishes up the Leipzig cantatas of 1725-26 with BWV 72, BWV 32, BWV 13 and BWV 16. BWV 32, "Liebster Jesu, mein Verlangen" ("Dearest Jesus my Desire"), was called a "concerto in dialogo" by Bach himself, who used the story of Jesus in the temple as the setting - a conversation between man and his soul.

Masaaki Suzuki Feature

Kim Patrick Clow wrote (April 11, 2011):
I came across this very nice feature on Masaaki Suzuki and wasn't sure if it's been shared with the list(s).

Enjoy!

http://www.youtube.com/watch?v=2MhpoAZJd_g

Masaaki Suzuki: Short Biography | Bach Collegoim Japan
Recordings of Vocal Works: Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Recordings of Instrumental Works
General Discussions: Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Cantatas: Suzuki - Vol. 2 | Suzuki - Vol. 5 | Suzuki - Vol. 8 | Suzuki - Vol. 9 | Suzuki - Vol. 10 | Suzuki - Vol. 11 | Suzuki - Vol. 12 | Suzuki - Vol. 13 | Suzuki - Vol. 14 | Suzuki - Vol. 15 | Suzuki - Vol. 16 | Suzuki - Vol. 17 | Suzuki - Vol. 18 | Suzuki - Vol. 19 | Suzuki - Vol. 20 | Suzuki - Vol. 21 | Suzuki - Vol. 22 | Suzuki - Vol. 23 | Suzuki - Vol. 24 | Suzuki - Vol. 25 | Suzuki - Vol. 26 | Suzuki - Vol.. 27 | Suzuki - Vol. 28 | Suzuki - Vol. 29 | Suzuki - Vol. 30 | Suzuki - Vol. 31 | Suzuki - Vol. 38 | Suzuki Secular - Vol. 1
Other Vocal Works: BWV 232 - M. Suzuki | BWV 243 - M. Suzuki | BWV 244 - M. Suzuki | BWV 245 - M. Suzuki | BWV 248 - M. Suzuki
Reviews of Instrumental Recordings: Bach’s Clavier-Ubung III from Masaaki Suzuki | Bach Harpsichord Discs from Hill and Suzuki | Bach’s French Suites from Suzuki | Review: Partitas by Suzuki [McElhearn] | Suzuki’s Partitas [Henderson] | Suzuki’s Goldberg Variations
Discussions of Instrumental Recordings: Partitas BWV 825-830 - played by M. Suzuki
Table of recordings by BWV Number