Masaaki Suzuki

Bach: Cantatas, Vol. 51

Hana Blazikova

Damien Guillon

Christoph Genz

Peter Kooij

Dem Gerechten muss das Licht immer wieder aufgehen (Chorus, Soprano, Alto, Tenor, Bass)

Bach Collegium Japan and Masaaki Suzuki

Recitative: Dem Freudenlicht gerechter Frommen (Bass)

Aria: Ruhmet Gottes Gut und Treu (Bass)

Recitative: Wohlan, so knupfet denn ein Band (Soprano)

Wir kommen, deine Heiligkeit (Chorus, Soprano, Alto, Tenor, Bass)

Bach Collegium Japan Chorus

Chorale: Nun danket all und bringet Ehr (Chorus)

Nun danket alle Gott (Chorus)

Duet: Der ewig reiche Gott (Soprano, Bass)

Lob, Ehr und Preis sei Gott (Chorus)

Duet: Ich lasse dich nicht, du segnest mich denn! (Tenor, Bass)

Aria: Ich halte meinen Jesum feste (Tenor)

Recitative: Mein lieber Jesu du (Tenor)

Aria, Recitative and Arioso: Ja, ja, ich halte Jesum feste (Bass)

Chorale: Meinen Jesum lass ich nicht (Chorus)

Herr Gott, Beherrscher aller Dinge (Chorus)

Recitative and Chorus: Wie wunderbar, o Gott, sind deine Werke (Bass, Tenor, Chorus)

Aria: Leit, o Gott, durch deine Liebe (Soprano)

Sinfonia

Recitative: Herr Zebaoth (Tenor, Chorus)

Aria: Herr, fange an und sprich den Segen (Alto, Tenor)

Recitative: Der Herr, Herr unser Gott (Bass)

Choral: Lobe den Herren (Chorus)

Johann Sebastian Bach

Born within a couple of years of each other, Gottfried Silbermann and Johann Sebastian Bach were acquainted, and we know that Silbermann in 1736 invited the composer to inaugurate the new organ that he had built in Dresden’s Frauenkirche. That instrument was destroyed during the bombing of Dresden in 1945, but some thirty of Silbermann’s organs are still extant. From robust pedal stops providing a sturdy bass fundament to silvery flute stops, his instruments were famous for their distinctive sound and contemporary sources often made use of a play on the name of their maker as they praised their ‘Silberklang’. Silbermann was based in Freiberg with his workshop only a stone’s throw away from the cathedral, where he built his first great organ in 1714. One of the finest and best preserved examples of his art, this is the instrument which Masaaki Suzuki has chosen for the third installment in his traversal of Bach’s organ music, following acclaimed recitals recorded in Groningen (the Netherlands) and Kobe (Japan). The programme takes us through various forms of organ compositions, including one of Bach’s most imposing preludes (BWV 546) with its intricate fugue, the multi-sectioned Toccata in C major (BWV 546a), examples of chorale preludes and partitas. Suzuki closes his recital with the famous Passacaglia and Fugue in C minor, probably composed during the same years that Silbermann was busy building the organ on which it is performed here.

Bach: Organ Works, Vol. 3

A busy schedule as music director of the Bach Collegium Japan and sought-after guest conductor doesn’t stop Masaaki Suzuki from returning to his first loves, the organ and the harpsichord. With the present release he adds yet another chapter to his series of Bach’s works for solo harpsichord. After acclaimed recordings of the Well-tempered Clavier, the Goldberg variations, the French Suites and other works the turn has come to the English Suites. Composed while Bach was in his thirties it precedes other sets such as the French Suites and the Toccatas, and in his liner notes, Bach scholar Yo Tomita draws attention to 'the stylistic traits of a youthful and ambitious composer wanting to make his mark through the use of counterpoint and virtuosity'. Despite its title, the collection has very little to do with England, at least musically: the six suites are instead rooted in the French tradition, and show certain striking similarities to the composer Charles Dieupart’s Six Suittes pour le Clavessin from 1701. (Bach made a copy of Dieupart's set sometime between 1709 and 1716.) It was only in the 19th century that the suites became known as the 'English', based on a never substantiated claim that the set was commissioned by an English nobleman.

J. S. Bach: English Suites

Aki Matsui

Masato Suzuki

Bach Collegium Japan and Masaaki Suzuki have sung of the wonders of Christmas a number of times, in Bach’s cantatas and Christmas Oratorio as well as in Handel’s Messiah. Here, instead, we hear the choir a cappella in a selection of classic Christmas carols. Masato Suzuki, son of the ensemble’s founder and director, has selected some of the best-loved songs of Christmas, such as Adeste fideles and Silent Night, as well as less familiar hymns, arranging them especially for these singers. A consummate organist, he also performs a number of Louis-Claude Daquin’s noëls variés – keyboard variations on Christmas songs which became a highly popular genre in 18th-century France.

Bach: Cantatas, Vol. 51

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