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.
As the mysterious opening bars of the Kyrie gradually emerge into the light, we know that this recording of Mozart’s glorious Great Mass in C minor is a special one: the tempi perfect, the unfolding drama of the choral writing so carefully judged, and, above it all, the crystalline beauty of soloist Carolyn Sampson’s soprano, floating like a ministering angel. Masaaki Suzuki’s meticulous attention to detail, so rewarding in his remarkable Bach recordings, shines throughout this disc, the playing alert, the choir responsive, the soloists thrilling. And there is the bonus of an exhilarating Exsultate, Jubilate with Sampson on top form.
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.
Between 1961 and 1986, Herbert von Karajan made three recordings of the Mozart Requiem for Deutsche Grammophon, with little change in his conception of the piece over the years. This recording, from 1975, is, on balance, the best of them. The approach is Romantic, broad, and sustained, marked by a thoroughly homogenized blend of chorus and orchestra, a remarkable richness of tone, striking power, and an almost marmoreal polish. Karajan viewed the Requiem as idealized church music rather than a confessional statement awash in operatic expressiveness. In this account, the orchestra is paramount, followed in importance by the chorus, then the soloists. Not surprisingly, the singing of the solo quartet sounds somewhat reined-in, especially considering these singers' pedigrees. By contrast, the Vienna Singverein, always Karajan's favorite chorus, sings with a huge dynamic range and great intensity, though with an emotional detachment nonetheless. Perfection, if not passion or poignancy, is the watchword. The Berlin orchestra plays majestically, and the sound is pleasingly vivid.
Before releasing his first disc of Bach’s organ works, Masaaki Suzuki had recorded the composer’s complete sacred cantatas, as well as the large-scale choral works and much of the music for harpsichord. His achievements in these fields obscured the fact that Suzuki originally trained as an organist, and began working as such already at the age of twelve. So when Volume 1 of this series reached reviewers around the world, it was something of a revelation to many: the disc went on to be named Choice of the Month in BBC Music Magazine, Diapason d’Or in Diapason and Recording of the Month in Gramophone, which then went on to include it on its list of the ‘50 Greatest Bach Recordings’.
The recipient of the 2012 City of Leipzig Bach Medal, Masaaki Suzuki has earned an enviable reputation as an interpreter of the music of J. S. Bach as a reviewer in Intl Record Guide has put it: 'With Suzuki you can hear Bach's heart beat'. To a wide audience he is known as the director of Bach Collegium Japan, and the moving force behind the ensemble's acclaimed recordings of Bach's complete sacred cantatas. Perhaps less well known is that he began his career at the age of 12! playing the organ at church services in Kobe, where he was born. Suzuki has remained true to the organ throughout his life, and for BIS he has previously recorded Bach's German Organ Mass, as well as programs of Buxtehude and Sweelinck. He here appears on a disc combining some of Bach's best-loved works for the instrument, including the D minor Toccata and Fugue, the Partitas on O Gott, du frommer Gott, BWV 767, the Canonic Variations, BWV769, and the celebrated Prelude and Fugue in E minor, BWV548.
]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 Mozart Requiem is one of the best-known sacred works in the classical repertoire. It was the composer's last work, and he left it unfinished at his death. British conductor Roger Norrington, a pioneer of authentic performing practice, and an outstanding group of singers present Duncan Druce's version of the Requiem, based on the latest Mozart research, together with other moving choral works.
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.
Gramophone Classical Music Awards 2014 Choral category winner! Purely on grounds of performance alone, this is one of the finest Mozart Requiems of recent years. John Butt brings to Mozart the microscopic care and musicological acumen that have made his Bach and Handel recordings so thought-provoking and satisfying.