Since its creation in 1791, Mozart’s Requiem has become one of the truly iconic works in the history of music. For this recording of the work, Masaaki Suzuki and the Bach Collegium Japan commissioned a new performing edition. Masato Suzuki, himself a member of the BCJ and the son of Masaaki, has based his completion on Eybler’s and Süßmayr’s work, explaining his procedure in the liner notes to the disc. The recording was made at the Shoin Chapel in Kobe, where the team has previously recorded their complete cycle of Bach’s church cantatas. A stellar cast of soloists is headed by soprano Carolyn Sampson, who also shines in the famous soprano aria Laudate Dominum – one of the highlights of Vesperae solennes de confessore which conclude the disc.
Bach Collegium Japan and Masaaki Suzuki present their long-awaited second volume of secular cantatas by J.S. Bach. The “Hunt Cantata”, composed in 1713, is the oldest of his secular cantatas. The libretto includes a dramatic plot in which four divinities from ancient mythology appear.
The two works on this disc perfectly illustrate a particular type of secular cantata, the so-called ‘dramma per musica’. In such works the libretto is constructed dramatically, and the singers embody various roles, such as gods and other characters from antiquity, and allegorical figures. The parallel with opera is apparent, although the ‘drammi per musica’ do without any scenic element. Bach primarily used the form in works intended for princely tributes or academic festivities: educated audiences could be expected to recognize the characters and literary traditions involved.
]Yoshikazu Mera born May 21, 1971, in Miyazaki, Japan, is a Japanese countertenor. His range is three and a half octaves. Originally wanting to become a pop singer, Mera now primarily sings classical music from the West but also classical Japanese music. He appears frequently as a soloist with the Bach Collegium Japan, which under its conductor Masaaki Suzuki performs Baroque music. His 1998 recital disc "Nightingale" on Sweden's BIS Records was a major success in Japan.
The Reformations fundamental alterations to traditional forms of church service, had, by Bach's time, resulted in German churches Latin yielding to the country's own language. To a limited extent, however, the Latin mass text did remain in use in the Protestant church in particular the Kyrie and Gloria sections. Termed Missa to differentiate them from complete settings, these pieces are often referred to now as 'Lutheran Masses'. Bach's famous Mass in B minor began its existence as a work of this type, and four other examples from Bach's pen have survived. Newly performed and recorded by Bach Collegium Japan under the direction of Masaaki Suzuki, the Missae BWV 235 and 236 are here combined with four separate settings of the Sanctus. Two of these are original works, whereas BWV 241, and possibly also 240, is an arrangement of another composers setting. The 'KyrieChriste' BWV Anh 26 is an example of how Bach used music by other composers, in this case by his Neapolitan contemporary Francesco Durante.
Masaaki Suzuki is a Japanese organist, harpsichordist and conductor, and the founder and musical director of the Bach Collegium Japan. He also teaches and conducts at Yale University and has conducted orchestras and choruses around the world. He was born in Kobe to parents who were both Christians and amateur musicians; his father had worked professionally as a pianist. Masaaki Suzuki began playing organ professionally at church services at the age of 12.
A new performing edition by Masato Suzuki, based on the autograph by Mozart and taking account of earlier completions by Eybler and Sussmayr. He has composed a new “Amen Fugue” to close the “Sequentia”, based on the sketch discovered in Berlin in 1960.
Mozart's Requiem is one of the truly iconic works in the history of music. A prime reason for this is of course its musical qualities; but even before that, legends had begun to form around the work - that it was written to fulfill an anonymous commission received through 'an unknown, grey stranger' - is the stuff of mystery novels, while the fact that Mozart fell ill and died while composing it has been exploited to great melodramatic effect. One thing that we know for certain is that its first performance took place at a memorial service for Mozart only days after his death. The performers used the composer's incomplete autograph, but very soon attempts to complete the work were set in motion by Mozart's widow. In 1800 the Requiem, in Franz Xaver Süssmayr's completion, appeared in print; it is this version that is still by far the most widely performed. Many have tried to improve on it, however, or make their own versions based on the autograph. For this recording, Masaaki Suzuki and the Bach Collegium Japan commissioned a new performing edition.