Volume 25 of Masaaki
Suzuki's Bach Cantata Series represents
the mid-point of this huge endeavor.
Previous volumes have garnered much
praise, and the new release generally
continues the exceptional qualities
that have informed the series up to
this point: excellent solo vocal and
choral contributions, splendid pacing,
rich textures, fine poignancy, and compelling
reverence to the texts. Overall, Suzuki's
cycle might well be the best ever on
record.
The three Cantatas
on Volume 25 come from Bach's second
year of service in Leipzig during September/October
1724. Each is based on hymns and presents
exceptional music. The Cantata BWV 78
is the most popular of the three, largely
because of the wonderful duet for soprano
and alto "Wir eilen mit schwachen, doch
emsigen Schritten" that is one of Bach's
most inspired and glowing arias.
The most impressive
aspect of Volume 25 is the superb vocal
singing, each soloist delivering excellent
tonal qualities and expressiveness.
Particularly noteworthy are the counter-tenor
Daniel Taylor and bass Peter Kooij.
Taylor is a rising star in baroque repertoire,
and his duets with Nonoshita in BWV
78 and 99 reveal fine teamwork in addition
to exceptional timbre. Kooij has been
a mainstay of baroque singing for many
years, and his heroic tone and conveyance
of the themes of the texts never disappoints.
Unfortunately, all
is not perfect. I have nagging reservations
about the quick tempos Suzuki employs
in the duet and ending choral of BWV
78. Both pieces possess a warm glow
of spiritual magnitude, and Suzuki's
relatively fast pacing does not allow
for sufficient breathing room in this
glorious music. For comparison, I listened
to the versions from Philippe Herreweghe
on Harmonia Mundi and Joshua Rifkin
on Decca. Both are slower than Suzuki
and convey the full measure of the music's
spirituality. I have tried my best to
acclimate to Suzuki's rushed traversal
but continue to feel that he takes the
pieces too fast. Actually, this is unusual
for Suzuki who tends to prefer moderate
to slow tempos in order to enhance richness
and warmth. Readers might reasonably
question my preoccupation with one aria
that lasts under five minutes, but the
duet is the gem of the seven arias on
the disc. Therefore, I have to give
it greater weight than I would otherwise.
The soundstage is certainly not problematic,
being crisp as well as rich with perfect
reverberation. Further, each musical
line is well detailed, a critical aspect
for Bach's contrapuntal creations.
Even with my griping
about the duet and choral from BWV 78,
I have no hesitation in heartily recommending
this mid-point volume of Suzuki's Bach
Cantata series highlighted by magnificent
solo singing and breathtaking choral
contributions. When the series is complete,
it should be a stunning tribute to the
supreme artistry and architecture of
the greatest composer of Western Civilization.
Don Satz
Visit the Bach
Collegium Japan webpage for reviews of other releases
in this series
Yukari Nonoshita, soprano 
