Johann Sebastian Bach (1685-1750)
Das Wohltemperierte Klavier, Buch II – Preludes and Fugues (BWV 870-893)
Masato Suzuki (harpsichord)
rec. 2024, Toppan Hall, Tokyo, Japan
BIS BIS-2631 SACD [2 discs: 142]
Masato Suzuki’s recording of The Well Tempered Klavier, Book 2 on BIS is a vivid and compelling addition to the harpsichord discography of Bach’s astonishing second traversal of all 24 major and minor keys. Compiled around 1742, this collection represents Bach at the height of his contrapuntal mastery. Compared to Book 1 from around 20 years earlier, Book 2 is more complex, introspective and, arguably, less immediately gratifying for the new listener. Its preludes frequently adopt extended structures approaching sonata form, and its fugues display a heightened sense of thematic development and harmonic daring. Where Book 1 offers clarity and charm, Book 2 demands a deeper engagement with architecture and expressive nuance.
Suzuki rises to this challenge with remarkable assurance. His interpretation is muscular and forward-driving, with tempos that feel brisk yet never superficial. Each prelude unfolds with a sense of inevitability, and the fugues—often intricate and densely woven—are articulated with clarity and purpose. The harpsichord, built in 1987 in the style of the 17th century Flemish master J Couchet, is captured with BIS’s superb SACD engineering, and is marked by brightness and resonance without sacrificing warmth, allowing Suzuki to highlight inner voices and rhythmic vitality.
This approach contrasts interestingly with Suzuki’s own Book 1 recording. There, his energy and articulation were already evident, but the music’s lighter character allowed for more playful inflections and rhythmic buoyancy. In Book 2, the same interpretive traits are present, yet they serve a more serious, architectural vision. Suzuki’s phrasing feels tauter, his ornamentation more restrained, and his sense of drama heightened – qualities that suit the gravitas of some of the pieces in this later collection.
Placed within the broader tradition, Suzuki’s Book 2 stands apart for its blend of historical awareness and modern vitality. Gustav Leonhardt’s pioneering recordings remain models of austere clarity, emphasizing contrapuntal purity over expressive sweep while Trevor Pinnock’s recent DG set balances historical fidelity with lyrical warmth and Ton Koopman’s earlier spirited readings revel in rhythmic sparkle. Suzuki synthesizes these impulses: he respects the score’s rigor like Leonhardt, but embraces the rhythmic energy and colour favoured by Koopman and Pinnock.
Ultimately, Suzuki’s interpretation of Book 2 feels like a natural evolution from his Book 1—deeper, weightier, and more architecturally conscious, yet still animated by the same joy and clarity that made his earlier volume so engaging. For listeners seeking a modern harpsichord perspective that honours tradition while speaking with a fresh, individual voice, Suzuki’s BIS recording is an excellent choice and a worthy companion to the great cycles of the past.
Peter Bright
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