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Reviews: Bach: Cello Suites - Hidemi Suzuki

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Reviews: 2
Review by wolfE December 3, 2005 (3 of 3 found this review helpful)
Performance:  Sonics (S):
I have to admit that I did hesitate a bit before ordering this double-SACD-set, because I own the Starker/Mercury version which is very good. And I did not know Hidemi Suzuki before, but now I do! After listening to the suites several times I can say, that this version is another favorite of mine. Suzuki's approach is more romantic than Starkers, and I like it very much. Another reason why I am enthusiastic about this SACD is the sound quality. This is one of the best DSD-recordings I have ever heard, warm, natural, full-bodied. Highly recommended! - Why does SonyBMG not offer more of this stuff, for instance some Mozart for ther coming Mozart year instead of Zorro-Soundtrack?

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Review by cdwitmer January 2, 2006 (7 of 7 found this review helpful)
Performance:  Sonics (S/MC): /
I agree fully with the first reviewer that this SACD is outstanding. However, "romantic" is one of the last words I would choose to describe Suzuki's playing on this CD. But in fairness I doubt the description was applied in the sense that a musicologist might use the term. Suzuki's interpretation is largely informed by the research of musicologist Kirsten Beisswenger, editor of the 2000 Breitkopf edition of the score. Suzuki's playing is expository, and it conveys to us a great range of emotions without descending into emotionalism. His playing is expository in that he attempts to simultaneously give us both the big picture and also every nuance and implied harmony (implied in that a significant part of the harmony exists in the recalling of earlier notes while hearing the notes that are currently being played). Suzuki's deep understanding of the music and his mastery of his instrument enable him to present a performance of sublime and profound beauty. Don't confuse this with Suzuki's recording done 10 years earlier, which is still (as of this writing) on the market as a standard CD. I also liked that one but some reviewers were less than thrilled. I suspect only those with a marked aversion to the very idea of historically informed performance would find anything to complain about concerning this new recording.

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