The Spin Doctor Europadisc's Weekly Column
Artists in Focus: Masaaki Suzuki and the Bach Collegium Japan
3rd April 2024
3rd April 2024
None of these conductors has embraced the one-singer-per-part theories advanced by Joshua Rifkin since the 80s, but all use modest-sized professional chamber choirs that combine vocal agility with a blended sound. The consciously homogeneous sound of Suzuki's performances reflects in many ways his performance ‘lineage’. Brought up in a musical household, he first studied organ with the priest and musicologist Robert Vliegen, as well as joining a ‘Bach club’ at Tokyo University where the leading light was harpsichordist Michio Kobayashi. He then studied harpsichord and organ with Ton Koopman, though they never discussed the cantatas. But he also listened to the Bach cantata recordings made by Gustav Leonhardt for Telefunken, and it was these – rather than the more volatile Harnoncourt performances that were part of the same groundbreaking project – that seem to have influenced Suzuki's approach to the music most directly. The carefully-shaped phrasing, the blended sound, the serene unfolding of the music, the sonic beauty of the period instruments: all these are features of both Leonhardt’s and Suzuki’s Bach. And (like Koopman too, and of course Bach himself), both were keyboard players. The careful delineation of different voices in polyphonic textures was thus second nature.
Returning to Japan, Suzuki started performing Bach (in an historically-informed manner) with family and friends, centred at Kobe Shoin Women’s University where he was on the teaching staff. An invitation to perform Bach cantatas and the Magnificat at the inaugural concert of a new hall in Osaka in 1990 marked the real beginnings of the Bach Collegium Japan. From the beginning, the ensemble was a mixture of Japanese and European musicians. By 1995 Suzuki had attracted the attention of Robert von Bahr, founder and owner of BIS records, and they began recording some of Bach’s early church cantatas, little imagining where this would lead them (even though the first release was labelled ‘Volume 1’). Although other composers featured from early on in the BIS-BCJ partnership (a recording of Monteverdi’s Vespers and Missa In illo tempore), the centre of their activity has always been the music of Bach. Early recordings of the two surviving Passion settings were superseded in the 2020s by critically-acclaimed remakes; the Magnificat, Christmas Oratorio, motets, Mass in B minor and the four short ‘Lutheran’ masses were also recorded.
All the Bach Collegium Japan’s recordings for BIS are currently on special offer: browse them at your leisure by clicking on the link below!
https://www.europadisc.co.uk/offer/3279/Bach_Collegium_Japan.htm
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