This series has been
amazing for the fresh insight it offers
into Bach's prodigious output of choral
works. It has been rewarding for the
scholarly interpretations which comes
as no surprise when one takes into account
Masaaki Suzuki's impeccable training.
This disc, with very
few exceptions, proves as admirable
a presentation as its precursors. The
cantatas are all contemporaneous, namely
for July 1724 (only 280 years ago!)
but in these interpretations they sound
as fresh as if they had been composed
only yesterday. The same remarks apply
to all the performances, so except for
some very brief remarks, I shall not
dwell at any length on the individual
cantatas.
It is remarkable how
a Japanese choir and soloists can cope
with the German language. However, cope
with it they do, and in a manner that
puts many a native choir (and soloists)
to shame. The diction is crisp and accurate
but without any undue accent upon phrases
and words. In all instances where indicated
the tempi are brisk and light and this
is matched by clear clean singing from
all soloists. The clear enunciation
of the choruses and chorales from this
smallish choir also adds greatly to
the result. This serves to bring out
the intimacy of the performances. Again,
the balance between both soloists and
choir and orchestra is well worked out,
neither overpowering the other. The
series has produced some excellent soloists,
whom I should expect to see in other
productions; the soprano Yukari Nonoshita
is one, and the bass Peter Kooij, has
in general been outstanding, with a
rich timbre and dominating delivery
where necessary. Having said this, there
is a bass aria in Cantata No.178 (track
17) where even he sounds rushed, so
fast are the speeds. On this disc Matthew
White seems quite a "find". He has a
sweet tone and delivers well versed
interpretations. Robin Blaze was one
of his predecessors, which only adds
to the pedigree of the performances.
The "orchestra" is
very small, consisting of three each
of first and second violins, two violas,
and two oboes (either da caccia or d'amore)
- a specification common to all the
cantatas. In addition, no. 10 adds a
trombone, no. 178 a horn, and no. 107
a horn and two flutes. The continuo
is a combination of bassoon, ’cello,
double-bass and harpsichord or organ.
One could continue
eulogising on individuals in these recordings,
but suffice it to say that the interpretations
and performances are satisfying in every
way. The presentation is scholarly without
becoming "dry" and the booklet is most
informative. The recording is in every
way true and faithful. The only thing
one could miss is a miniature score
- any thoughts on this, possibly as
an optional extra?
Further issues in this
series are eagerly awaited.
John Portwood
Visit the Bach
Collegium Japan webpage for reviews of other releases
in this series