Bach's Clavier-Ubung III consists of the Four Duets BWV 802-805, the
Prelude & Fugue BWV 552, and twenty one Chorale Preludes BWV 669-689.
Other titles for these works that have frequently been used include the
German Organ Mass and the Great Organ Mass. Recordings of Clavier-Ubung
III have not been frequent, but the Bach Anniversary period has seen at
least three representations on disc:
Channel Classics 13498 - This 2-cd set is performed by Leo van Doeselaar
on organ. However, the set only has ten of the chorale preludes and none
of the Four Duets. Instead, we are given short choral works of other
baroque and pre-baroque composers which are interspersed among Bach's
chorale preludes. The singing is accomplished by the Choir of the
Netherlands Bach Society directed by Jos van Veldhoven.
Hanssler 92101 - Also a 2-cd set, this issue contains all of the organ
music to the Clavier-Ubung III plus the Four Duets. There are no choral
pieces, and the performances are provided by Kay Johannsen.
BIS 1091/1092 - The 2-cd set has the entire Clavier-Ubung III *and* ten
accompanied chorales from cantata movements sung by the Bach Collegium
Japan Choir. So, Suzuki's set would appear to have the advantage of
"everything" one would expect plus about ten minutes of choral singing -
all the basics plus the concept. I would like to point out that the total
timings of the Hanssler and BIS sets are similar. That fact obviously
reveals that Suzuki is consistently quicker than Kay Johannsen.
Some time back, I did short reviews of the Hanssler and Channel Classics
sets. My preference was for the Johannsen performances which I felt
conveyed more emotion and greater detail of part playing. The Channel
Classics set had a richer sound which sometimes obscured detail. However,
I also advised that the concept of interspersing short choral works would
likely be very appealing to some listeners. Again, at first blush,
Suzuki's set seems to consist of the the best of both worlds.
In reviewing Suzuki's new recordings, I'll be comparing them to the two
above sets, Lionel Rogg's performances on his recently reissued 12 cd set
of Bach's organ works on Harmonia Mundi, and Werner Jacob's readings on his
16 cd EMI set. The order of review will be the Prelude BWV 552, the twenty
one chorale preludes, the Four Duets, and the Fugue BWV 552; this is the
order generally used in recordings. I'll be commenting on the ten chorales
as they appear on Suzuki's set.
I have another preliminary matter to bring up which would pertain to any
reviews I do of Bach sacred works, although I'm only going to mention it in
this particular review since Suzuki's performances don't usually correspond
to the devotional/pious category.
Prelude in E flat major, BWV 552 - This well known and majestic
Prelude has three basic sections: the first expresses the heroic, the
second expresses prayer and meditation, the third expresses action and
accomplishment. If any piece of music is perfect for the organ, the
Prelude in E flat major is it. The double-dotted first section has as much
ceremony as any other Bach music, and the third section's propulsion and
determination are awe-inspiring. The music gives me images of a hero's
funeral, final prayer, and journey to Vanhalla.
Each of the comparative versions is excellent, particularly the Rogg
performance which has the most mediative second section and a deliciously
detailed and propulsive third section. A high level of lyricism is evident
in these versions. Suzuki has a different approach than the others which
is most noticeable in the prayerful second section. Suzuki has no time or
inclination for meditation; like a bull, he powers his way through this
music, just itching to get on with the journey. I can't deny that there's
a stern quality to the reading which could well turn off many listeners,
but there are other sides to the performance. The levels of determination
and inevitability are invincible. When the journey begins, you feel and
join it. This is a "take no prisoners" version with sufficient poetry to
be a great alternative to Rogg. Suzuki's hero is tough and posesses a
no-nonsense attitude.
Choral Preludes BWV 669 to 671 - "Three" is a number at the foundation
of the German Mass. We have heard it in the Prelude BWV 552, and here
it is again as the choral preludes begin. In Latin liturgy, these three
preludes form a unified and progressive entity. So it is with Bach's
music. Each successive prelude is more intense and inevitable than the
previous. Although hardly happy music, a strong uplifting quality also
intensifies with each prelude. There is much beauty and determination in
the music, and Lionel Rogg brings it all to center stage. Suzuki again
places higher priority on determination than Rogg and is not as uplifting.
Suzuki is dealing from strength; he just keeps coming at me non-stop. Up
to this stage, he has me totally in his grasp. I want to make the point
again that poetry is not absent by any means in Suzuki's performances.
Also, there are three vocal chorales, one before each prelude. They are
very nice, but I don't find they add anything to enjoyment. In fact, they
tend to telegraph what type of prelude is coming next. Fortunately, they
can be programmed out or placed at the conclusion of the German Mass.
Choral Preludes BWV 672 to 674 - These three are considered the "minor
Kyries" to the three previous "major" Kyries. Although of much shorter
duration than BWV 669-671, each prelude delivers great poetry and hope.
They get successively faster with BWV 674 being an energetic gigue. The
two previous preludes are rather serene.
This series represents a cross-roads for Suzuki. Does he continue his
strength/power regimen with music that wouldn't seem able to absorb this
approach, or does he adapt to the nature of the music? Suzuki adapts and
does so beautifully. The first two preludes are gorgeous creations in his
hands, and he even tempers the power he conveys in BWV 674. Werner Jacob
gives Suzuki a major challenge, but it's the Suzuki series which easily
wins my affection. Up to this point in the German Mass, Suzuki's is the
best version I know, and the flexibility he displays in the BWV 672-674
series should bode very well for the rest of his performances.
Choral Preludes BWV 675 to 677 - These three are different settings of the
German Gloria. They are also joined at the hip by their swirling motions
and deeply happy and satisfying themes. Bach arranged the Preludes in
ascending scale order and gives them an ascending degree of exuberance.
Most impressive is BWV 677 which is a double fugue providing a glorious
outpouring of life's juices.
Suzuki just keeps getting better like a fine bottle of wine. He has no
problem adapting to the music's nature. His first Prelude is the most
joyous I've heard, and the inevitability Suzuki delivers is magnificent.
The second Prelude swirls its satisfaction in a mesmerizing fashion. In
these two Preludes, Suzuki also gives the most tender readings available,
and this from the man of steel. There is nothing tender about Suzuki's
BWV 677; he's back to strong emphasis and provides one of the greatest
performances of any one minute piece of music ever recorded. Where to
begin? The pacing is out of this world and greatly aided by a moderate
staccato which contrasts so well with the legato element as they swirl
around one another. Suzuki has no peer for investing the music with
urgency and ceremony. Most important, he gives me the feeling that every
ounce of joy and satisfaction in the world is blazing into my bloodstream.
Not content with the magical music-making in the three Preludes, Suzuki
also offers a gorgeous and comforting vocal chorale to start off the
proceedings. I harped some on the three vocal chorales earlier in the
review; the situation is far different now. Those three telegraphed the
emotional themes of each applicable Prelude. The one at hand, BWV 260,
represents the introduction to a journey to supreme enlightenment. Also,
the contrast between the calm vocal chorale and the first Prelude is very
effective.
Previously, my favorite set for BWV 675-677 was Werner Jacob's, but
Suzuki leaves that outstanding performance in the shade and that's a
very hard thing to do. Jacobs is great in each Prelude and ties them
together effectively. If you have the opportunity, I also recommend two
other wonderful recordings of BWV 677: Johannsen on Hanssler and Hans
Otto on Berlin Classics. Otto's reading is full of joy and has great
determination; Johannsen's pristine performance can't be beat for
highlighting all the delightful details of the music and voices. As good
as these referenced versions are, Suzuki is the master. He is increasingly
reminding me of the novelist Joyce Carol Oats. They are both highly
unpredicatable and unusual; you never know what's coming next except
that you know it will be treasureable.
Next are six pairs of catechism chorales, each pair consisting of a
'major-pedaliter' and 'minor-manualiter' setting:
Choral Preludes BWV 678 & 679 - BWV 678 is the major setting and a
magnificent one. Its long pedal creates a relatively serene mood while
the two upper parts are developed canonically. In BWV 679, we are given
a happy gigue whose fugue subject makes ten appearances to conform to the
ten commandments.
While listening to some great versions of BWV 678, it struck me that the
Great Organ Mass might well be the most spritually satisfying work Bach
ever composed. Jacobs and Rogg provide wonderfully uplifting performances
within the mainstream. As is Suzuki's penchant, strength is highlighted
in his BWV 678 without any sacrifice of poetry or depth of feeling. The
same applies to BWV 679 where Suzuki presents strong attacks which I find
irresistable; he gives the piece a weight which I woulnd't have thought
the music could absorb. A vocal chorale precedes these two Preludes; it's
lovely but not as effective as BWV 260 in ushering in the applicable
Preludes.
Choral Preludes BWV 680 & 681 - These two Preludes refer to the Credo.
God is praised as the Protector and Almighty Power. BWV 680 is a
swirling and sweeping three-voice fugue with the pedal providing a powerful
underpinning. It's interesting to listen how the different versions handle
the swirling, powerful, and uplifting elements of the music. Rogg's is
a superb version with great optimism and sweep. Other versions such as
Jacob's get so caught up in the sweep of the music that most details are
obscured. And then there's Suzuki; he doesn't as much sweep and swirl
as hammer his way through the Prelude. Beats are emphasized powerfully
and with a determination of great intensity. Whatever a soft and gentle
approach might be, Suzuki's is the opposite. But again, he does not
abandon lyricism or optimism. The reading just has altered priorities,
and I feel the music responds well to the distinctive treatment.
With BWV 681, we enter the world of the French Overture, dotted rhythms,
heroism, and nobility. I've not heard a better interpretion than the one
from Hans Otto on Berlin Classics; his nobility is supreme. And it is the
strong nobility which is missing from Suzuki's reading, and this time he
has nothing advantageous to replace it with - definitely a competitive
performance, but the first time in the review when Suzuki is not at the
top level.
Update: Suzuki's German Mass is quite distinctive and would likely
elicit a wide range of opinions. So far, it's a powerful reading which
will not be to everyone's taste. As you are probably aware from my
previous comments, the interpretation feeds into my musical preferences.
Suzuki's power is very compelling, but he offers much more. He's tender
when needed and rejoices at all the right moments. What he isn't is highly
reverential, and that suits me just fine. I am greatly impressed up to
this point.
Don Satz
[log in to unmask]
|
