Johann Sebastian Bach (1685-1750)
The French Suites for Keyboard

Disc 1:
Suite No. 1, BWV 812
Suite No. 2, BWV 813
Suite No. 3, BWV 814
Suite No. 4, BWV 815
Disc 2:
Suite No. 5, BWV 816
Suite No. 6, BWV 817
Suite in A minor, BWV 818a
Suite in E flat major, BWV 819a
Allemande (alternative version from BWV 819a)

Masaaki Suzuki, harpsichord
Recorded at Kobe Shoin Women's University Chapel, Japan, 1999-2002
Released September 2003
BIS 1113/1114 [2cds - 140:08]

Comparison Version: Cates/Music & Arts, Moroney/Virgin Classics

Performer - Masaake Suzuki has attained quite an enviable position as a
Bach performing artist of the highest order both as conductor and keyboard
performer.  His on-going series of the Bach Cantatas is among the best
on record, and he also continues to record the Bach solo keyboard works.
I should also mention his recording of Bach's German Organ Mass which
has a host of transcendent performances.

Harpsichord - Constructed by Willem Kroesbergen in 1982 after an enlarged
2 manual Ruckers.

Outstanding Features - Harpsichord sounds gorgeous and acoustic is
perfect.  Rhythms are supple, trills/ornamentation are enticing, elegance
and the singing line are emphasized.

Problematic Features - Changes in tempo and dynamics are infrequent and
narrow in range.  Contours are very smooth in the Allemandes.  Worst,
intensity is sorely lacking and most damaging to the Sarabandes.  These
performances sometimes give off a facile quality.

Reference to Suzuki's disc of German Organ Mass - Anyone who might know
Suzuki only by his recording of Bach's German Organ Mass wouldn't believe
that this is the same artist who recorded the French Suites.  In the
German Organ Mass, Suzuki is all sharp angles, severity, and boldness.
You won't get much of that in his set of the French Suites.  Of course,
I am not suggesting that Suzuki should play the French Suites in the
same manner as the Organ Mass; I am suggesting that he goes too far in
the opposite direction.

Suite No.  1 - The Allemande is a little cloying with Suzuki's overly
smooth and steady lines; switch to David Cates and the music comes alive
with changes in tempo and dynamics that give off the air of improvisation.
Suzuki's Sarabande is surface-bound compared to Cates's probing account.
However, Menuets I & II are given a delicious flow by Suzuki, and he
does sharpen up in the concluding Gugue.

Suite No.  2 - Suzuki remains consistent with his approach to the previous
Suite.  His Allemande and Sarabande are not as interesting or insightful
as those from Cates or Moroney.  Much more favorable are the Air and
Gigue which get fiery readings at full speed.

Suite No.  3 - I'd just like to mention the Sarabande that is likely the
most emotionally rich piece in the French Suites.  Bach takes us from
deep remorse to acceptance of our humanity, but Suzuki won't have any
part with remorse - getting 'down and dirty' doesn't fit into his schematic
of these Suites.

Suite No.  4 - This Suite's Menuet is where Suzuki takes a detour from
his mainstream interpretations.  Cates and most other artists give the
music a slow pace and contemplative demeanor, but Suzuki is fast and
jaunty.  It certainly has its appeal and changes the nature of the music.
Personally, I prefer the contemplation.  The sequence of Gavotte - Air
- Menuet - Gigue needs a Menuet that strongly contrasts with the three
exuberant pieces.

Suite No.  5 - From my perspective, Suzuki does best in Bach's gigues,
and the one from Suite No.  5 matches a fantastic performance and the
most towering gigue Bach ever wrote.  The music is a hotbed of energy,
activity, and brilliance; Suzuki plays it for all it's worth.  Further,
he turns on the macabre element of the second section to great effect.
It's a prime example of the controlled wildness that Suzuki offers so
frequently in his recording of the German Organ Mass.

Suite No.  6 - I should also give special mention to Suzuki's way with
the Courantes.  In each of the Suites, he emphasizes the music's propulsion
and exuberance.  These features reach their peak in the E major Courante.
Suzuki is off to the races and loving every moment.

Suites in A minor and E flat major - It isn't unusual to find these
two Suites included in sets of the French Suites.  They help fill up
the disc space and complement the styles used in the French Suites.  As
is customary on record, two alternate Allemandes of the E flat Major Suite
are presented; the one Bach wrote first is harmonically daring, while
the replacement is rather straight-laced.  Suzuki plays the two Suites
excellently, exhibiting more incisive phrasing than in the French Suites.

Summary - Suzuki's set of the French Suites and their companion pieces
has much to offer in terms of exuberance, the all-important singing line,
elegance, and beauty of form.  However, the readings are not exploratory
nor do they stress the music's detail or emotional depth.  More than
anything else, I think that 'Bach is Beautiful' is Suzuki's calling card.
For many Bach enthusiasts, the set should be highly rewarding.  Personally,
I remain wedded to the Cates and Moroney recordings.

Don Satz
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