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GRAMOPHONE (10/2022)
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Reviewer :
Lindsay Kemp

 Masato Suzuki recorded the Bach doubles with his father Masaaki and the Bach Collegium Japan in 2013 (8/14), but it is only recently that he has turned to the solo concertos, of which this is the second volume of two. As with Corti, this has single strings, though the closer recording makes for a more intimate and friendly encounter with the wood, gut and wire, as well as a sense that any individual instrument can momentarily be a soloist, such as the violin in the outer movements of BWV1055 or the cello in BWV1057. Suzuki’s harpsichord, a copy of a French instrument, has a slenderer tone than the Vaters, and the string sound is more relaxed and springy than Il Pomo d’Oro’s. Generally, these are steady and conventional readings, the most striking interpretational moments being the jabbed short notes in the big bass motto themes in the slow movements of BWV1054 and 1058 (which I suspect not everyone will enjoy). There is great clarity and air, however, as well as a pleasing sense of a harpsichordist treating them as elegant accompanied harpsichord pieces, that puts me in mind of the Leonhardt recordings of the early 1970s.



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