The ‘Well-Tempered Clavier’, or ‘48
Preludes and Fugues’, were assembled by Bach over a substantial
period, with the second book (recorded here) completed during
the 1740s. The exact provenance is hard to confirm since
the music was not published during the composer’s lifetime.
Suzuki recorded Book 1 back in
1996, and since then his contribution to the Bach catalogue
has been impressive: not only with keyboard music but also
in his esteemed recordings of the B minor Mass, the passions
and the cantatas.
More than in his previous keyboard
recordings of Bach, Suzuki’s approach to Book 2 is strongly
imaginative and flexible. Clearly in a collection of so many
shorter pieces trading top-class artists off against one
another is a pointless exercise. One will be quicker than
another here, slower than another there and-or have a different
approach to balancing textures and decoration. In any case
there is always more than one way to perform a masterpiece,
on whichever scale it is written. Thus Suzuki assumes a worthy
place in the catalogue alongside Bob van Asperen (Virgin
Classics 5 61711-2) and Ton Koopman (Erato 0630-16169-2).
The timings tell us that Suzuki
is generous with repeats and can opt for slower, expressive
tempi on occasion. Thus the C sharp minor Prelude takes on
an elegiac tone, making it an exercise in lyricism when compared
with the more etude-like approach of others. This is particularly
bold on the harpsichord, since it is more often those who
favour the piano with its wider tonal options who bring such
expressive intensity to this music. The recent recording
by Craig Sheppard is a fine example on Roméo Records 7269-70 (see
review).
Making the most of the structural
aspects of repeat markings is a concern of Suzuki’s that
strengthens the musical structures. For instance, the B flat
Prelude and Fugue is seldom allowed this honour - Koopman
leaves off the second repeat, for instance - but the piece
seems the better for it. Also, his dancing rhythmic gait
is most engaging. But, on the whole, tempi tend towards the
sensitive exploration of expressive potential, and therefore
the slower rather than the faster. This is not to deny energy,
however, such as in the virtuoso renditions of the D major
and G major Preludes.
The recording location is Suzuki’s
preferred Kobe Shoin University chapel, whose warm acoustic
is tried and tested. As so often in recordings of harpsichord
- and guitar - music, the perspective is close, on the verge
of being unduly close. It’s a case of the cheaper front row
rather than the more expensive tenth row, so to speak. A
little taming of the somewhat fierce volume level will go
a long way to ensuring full enjoyment of these performances
by one of the most gifted musicians of our time.
Terry Barfoot
Masaaki Suzuki
(harpsichord) 
