YouSaid · the spoken record

Masaaki Suzuki

lines on the record: 63
first: 2024-02-21
most recent: 2024-02-21
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“series in Kroningen and then I will make a tour with the orchestra with age of enlightenment with the Christmas oratorio whole six parts so that's really exciting and next year January we are going to perform Brahms Deutsch Requiem with Pillow Instruments in Japan and to make a recording that is really exciting.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Now Well, after this project with Yale and Juilliard, now we are rehearsing of the Handels Oratorio called Legro Penlose et moderator. That's very interesting music. But after a couple of organ concerts in Japan, because in Cobra in the Shoin Chapel where we have made all the CDs recording and that organ that was built by the French organ builder called Marcarnier, that was exactly 40 years Jubilee this year. So that's why I will give a couple of concepts there. So that is actually starting points of my whole career. So that is a really important event. And after that, I'm coming back to Europe to make another volume six or seven days of the August.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I'm getting allergies always there. Well, I've never thought in that way the Bach is my life, actually. So familiar, I am living inside of the Bach's music. I could never judge from outside. So, yeah, well, actually, it is not thinkable to live without Bach's music or without music. That is my life only”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm just guessing. Yeah, yeah, maybe. Yeah, I mean, that is what, yeah. Probably hopefully, yeah. So it could be good for you. Yeah.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, actually, we don't know yet what's happening now. So I'm so happy to be working with the BIS all the time since 30 years now. So I really hope that we can go on in more or less a similar way. And we have a really wonderful connection, the relationship with this company.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“For example, the Messiah recording is a long time ago, but during the recording session of our colleagues, mother or father or spouse have passed away or something. And also my wife, the mother, has passed away just when we finished the recording as if she has waited for that moment. So that kind of memory is always coming back and so it is really wonderful experience to keep going with the recording session, session recording. That's very nice.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“That is a, sometimes I need to listen to the others recording the older one or the other kind of reference. But basically, I don't listen to, well, I'm trying not to listen too much too much influence. I think the make recording is very interesting because that is a quite important experience for all of us, all of our colleagues. During the recording session, many things happen and not always very easy, but during that recording sessions, we all take that music into any cells in our body. That was really interesting.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“No, no, no, no. They're just different visions. Each recording never, never, none of them are really perfect. So I always want to do once again like the live performance. So if I have time, I'd like to do all the controls once again. After all, then I probably will want to do once again, so that's why it's a never-ending story. But for St. Master Passion is the first recording I have nothing to regret about the in between in not only the technically but also the understanding about Bach and all the members, choir member, orchestra member have all developed quite much. So that's why as a milestone, I think the very good to do once again. And if I could leave another 30 years. And then probably I will do once again.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, basically I want always to move on to the next and never, never look back. But sometimes I was told to do that because I have to choose the contact, this and that thing to make another program or did make a recommendation of the canton and so on. But basically I don't look back at all”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“No, actually, for PN stalinist singers, for example, maybe they must memorize all the texts or whatever. And for pianists, most of the pianists are too busy to see the score. So they, of course, must memorize everything. But for conductors, there's no reason to memorize, actually. So, just like Anserme said, and also choir, choir people of the sacred music, not in the opera scene orsoever, but they must keep the scores always in hand because by memorization, your understanding of the music are changing all the time. Because to realize this and that notes and the texts and so on without mistakes and so on, then you must take different energy to keep up that. But what we should do is only to make music, to make a sound. So I think other than scenery performances, I think it is better to have scores all the time.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, no, actually no distraction, only for the rehearsals. When I start rehearsal, sometimes I feel today I'm very tired, but during rehearsal, I always freshed up. So there's no problem anymore. During because of the music, I always can get energy from that.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Not at all. Not at all. Basically, I can't think anything other than music. Then what is happened in that bar. And so even I can't think of the next bar. So the only thing I always concentrate in what's coming next, what coming next, something like that. And the purpose or aim of that part of the music. So, you know, what kind of atmosphere must be realized and so on. That is most important things.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Beetles, yeah, Beatles. Beetles, I don't know much about that. Yeah, that's beetles, really, I don't know. But when I was a brass band, you know, we played some beetles arrangement for brass band, and that was the...”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Popular music again. I don't know what kind of definition of the popular music, but I like the singers like Mariah Kelly, for example, and also the Whitney Houston and so on, those things. That's a really wonderful music. And so they are really good as singers. So the texts are also very kind of... Cheer up the people, and that was a very positive aspect all the time. So that was very, very nice. Sometimes in Japanese popular music, we call them one of the traditional Japanese popular music called means that is the song for the remorse and also the sometimes reglets and so on. All the time very often Japanese popular songs have that kind of text which describe the negative aspects of our experience. I find it a little difficult, not difficult, a little pity.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“And very recently, I have performed his symphony for the first time in my life and with Sapporo Symphony Orchestra. And that was great pleasure and the rhythm called so interesting. But structure is quite classical. So his way of composing was, in a way, conservative, according to the very classical structure and also rhythm pattern and so on, but the sound itself is completely new, I mean atonal music. So it was a little difficult for me to enjoy or that kind of sound, but the adult wonderful experience.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I don't know what is the contemporary, but the probary, I listened to the Stravinsky, for example, that is one of my favorite composers, and I did actually, I made even one CD of the Pruchinella and so on, even more recent one like Take Mitsu, and that is very beautiful. But sometimes I can't understand. What is their intention, so sometimes very difficult. Very recently, I used to be the student for the composition, and at that time my teacher was Akiyashiro who has studied in Paris and he has passed away when he was 46 years old, while still I was a student at that time. But he has composed a wonderful symphony and piano concerti and so on.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Contemporary music? Well, yes, I enjoy sometimes, but probably there are plenty of other specialists for that kind of contemporary music, I think. But what do you like?”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“By any Stadfeifer. So they help to, the master all these instruments and so on and so on. And the number three is very interesting, but the number three is this number was made by Bach himself, and that is three violins, three virula, silicelli. So that's everything dominated by three. But he didn't compose the second movement. So that is actually movement was supposed also three, but the second one is missing, and only one bar in the middle of the page. So he clearly intended for himself to improvise the second movement. That was the intention for the Berlin. He wanted to dedicate to the Berlin graph. And then if you hire me, Then I can improve for this movement and something like that”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, I think that to the Bakh's intention to compile the sixth concertos as one collection, but probably by then he has composed quite many concertos. I think that is very simple. specialist Michael Morrison has written about that Brandenburg concerto that was symbolized. His intention was to represent the social hierarchy number one Brandenburg number one is with two horns that is very the usual symbol for the court, the dignity of the court. And then second one is the trumpet solo overboard recorder and violin. Those four instruments are supposed to be performed.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“all yeah could be i i don't know so many different recordings but the at least for the gold work variations that was very nice first one especially yeah and sometimes the tempo is very quick and i can't do that in that way but that is very fascinating performance i think”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, Glengold, I love the Glengold perfume very much, and that is not so unusual if you try to make art creation and also to make some kind of effects like the harps code and organ and so on. I thought that was quite a natural conclusion that he did in that way. There is one or two, the recording of organ playing, his organ playing that was a little strange. But piano, for example, gold work variation, that's a really fabulous recording, I think.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, for example, in Saint Thomas Church in Leipzig, I was very happy to be there for the first time ever. That was still the earth side. It's daily time. And in front of the church, there was a huge statue of the Bach, and that was, oh, Bach was so big something. But actually the St. Thomas Church itself is, well, nowadays, that is the inside is quite different from the time of the Bach. Well, I was very happy to be there, but not really I can't make any connection from heaven through that church, you know. So anyway, that's...”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, before I came to the Netherlands, actually, I didn't have any knowledge, I didn't have any understanding. So only the feeling, and I loved Ogun and I loved harpscore. But the only thing when I started learning with Tom Kopman, you know, what I... Had done in Japan was not wrong, so that's why I thought that I was really lucky, I thought. Well, actually, I was completely ignorant before I came to the Netherlands about baroque music or about Bach and whatsoever. So everything was so new to me. So all the knowledge, Tunkopman had so many books and so much knowledge and he really talked many things like machine guns so many and well after that I I read some books and so on a little bit more objectively. Then I came to the conclusion that I'm good. I can stay myself, you know, something like that.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Now much more Korean. Korean. Yeah, well, basically, I think in order in Europe, much less numbers of Japanese students, in general speaking. There's a famous conservatory like Paris or Rome or Vienna and so on. There are still quite some, I think, but much less than before. And that was probably because all the Japanese musicians can get job now in Japan. So they don't have to really go to Europe anymore in terms of getting job. I think it's still very important to live in Europe once if you would like to be To be the musician of the European music. So it is very important, I think.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“The organ building have been all the time so changing according to the time. The second half of the 18th century, the organs around Bach's area, so Zachson and Turigen have quite different character from North and Germany or Italy or France and so on. And they had quite many stringy stops registered, stringy sound with contains a lot of high overtones. And that is very close to the string instruments. And that is very, very interesting. So that kind of character is very important for the Bach's organ music, I think, basically. But the Bach, as I said, there is no organ extant from that time to play all the Bach's organ music on one instrument. So actually Bach's idea of composition is always a pass of the situation”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“The Hroningen is in the north part of. That is really wonderfully restored, so that quite much depends on how it's restored as well, because the organism has always very long history. So in between, for example, in the 19th century, all over the historical organs were once renovated according to the musical taste of that time. So that nearly all the organs were once romantized way, they changed. So in 20th century most of the organs were re-renovated to bring them back to the original situation or 18th century or 17th century. And so how to restore is a really key point, actually. So for example, this Martiniqueerk in Groningen Ogan, that originated the Schnitka Ogen. From the very original style is very, very good, but that is beautifully restored by J ⁇ rgen Arendt, one of the most important organ builders in Germany.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“To play Boston. Yeah, how many? That's a really difficult question. But it totally depends on what you think beautiful or what you feel good because I prefer personally the hysterical organs, the original organs like in Northern Germany or France or wherever. Well, my really favorite organ in the world is the Hroningen that is Martinikerk that is built by the Honkaspar Schnitzka.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I don't recommend that for the first beginner because that is too complicated. Well, for example, contact the number 8 Lipsteu. That is a really wonderful music you can really use it as a BGM background music as well. And that is really comfortable to listen. All the contact one hundred two, the Herr Dina Orgenz and Dynaglaubens. That is one or two is a very interesting structure. The wire has two double fuga and that is a really interesting structure and also the area was very dramatic. So otherwise plenty of examples.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Is very difficult, one of the most difficult questions. Well, that depends on the situation, what you have in the past experience. One of my favorite contacts is, for example, let me see. Clock it out. Very good one.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“And so in Majapashana, he has performed at least three times, I think. St. John is four times or five. I'm not sure. But anyway, that's only a couple of times he has really hard and performed his own masterworks.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Matthew No, there is no evidence that he has performed B man of mass. That he never heard it. He never heard it. He never heard it.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“So that Mendelssohn has performed sentimental passion only mainly the order relatives. So he avoided for his first performance, he avoided the nearly old areas, even Auslibe, that he didn't perform the first time. And his intention was to follow the story as directly as possible. So in that way, probably it was thought just like the opera production. So the medicine was indeed that revived the St. Marsh passion, but actually that performance is completely different what we are now doing.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I don't know. There are a couple of different aspects. For example, Pasha music of Bach, St. Matthew or St. John, you need definitely a continual playing, for example. But that idea was already distinct, already completely extinct by the time of Mendelssohn. So Mendelssohn has reformed, or the, how do you call it, made a harmonization for the continual part. He has performed some cantatas as well, but he always provided the parts for the brass section or the wind section to fulfill the harmonization on the continuum. It could not be understood anymore by the time of Mendelssohn. And also, it was much easier for them to understand the passion music just as the storytelling.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“The lyrics to the choral ending of the ninth. Yeah, of course, that is a very special meaning, not only for Japan, but I think that's musically the very big events. But in Japan, there are quite some of the projects who gather the people, more than 10,000 people to sing out to the bed of a nine at the end. That is quite beloved event, but that is normal musical event. I don't think so.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, Beethoven 9 is a very special being, especially in December. So there are more than 100 performances between 9, only in December.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, probably a little different American audience are more friendly, I think. More friendly and more easier to be excited by the performance and as if they look like more inspired directly from the music and also musicians. And in Japan, Japanese audiences, sometimes they know very well about the repatriatory and very cooperative, but they at the same time not so excited immediately. Probably the insight is very excited, but we Japanese people don't express directly from inside to outside. We were all told in the school, for example, that is rule, that is not the intellectual. Demiro, something like that.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Because they were port cities? Is that why? Yeah. That was a cool basis of the most important. After the reopening of the Japan 1868, there are probably two Kobe and Yokohama and even Sendai port places, you know, the very important to accept any kind of culture from outside, but the Christianity came in. And for example, there is the oldest Protestant church is in Yokohama. So that At the end of 19th century, that's really interesting history.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“And Christianity was actually left over only as the hidden Christian. So that is a very interesting history, but probably it is not possible to call them Christianity anymore, but that is a kind of mix up with Buddhism. So the Anymore as a Christian, the proper Christian. Well, I don't like what I can't tell too much about that because I don't know exactly. But anyway, the hidden Christianity is still there. That's a very interesting thing.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“That has never happened, that was completely stopped, I think, origin-wise. But it is very interesting that there are quite many evidence that before the 1639, quite many churches were built by the missionaries from Europe. And also, for example, where the Oda Nobunago has based the very close to Kyoto. That was quite many churches and also quite some organs at the time. And also boys, missionaries were sent to us at least from Japan to the Pope in Rome. And in between that time it took the couple of years to reach Europe. And in between some of them practice organ ownership. And then when they arrived at Evora to Portugal, one of them could play organ immediately and everyone was astonished. But in this kind of connection was completely stopped afterwards. That was very pity.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“And when we perform the Saint-Tomasi passion regularly on Holy Week and every year since 20 years we are doing, now we have regularly three performance in Holy Week in the same venue. So something like 5,000, 6,000 people are coming for that performance. And that is amazing thing in comparison with the number of the Christianity in Japan. So actually, I think that quite many people can appreciate that kind of message from the Bible as well, not only the Bach's music, but from Bible and so on. So that is my hope.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“I think so quite different from any other. Well, actually each of the countries have different traditional different approach to the Christianity or whatever religion, I think. But in Japan it's quite different from Korea for example and Korea is much more Christians nowadays. It is said that 40 or 50% of the population is Christians but in Japan it always says that the only 1% of something but in spite of that the Christian culture is very well known in Japan so everyone knows what Christmas is and even Easter they did quite known nowadays but there's very not so many Christians in Japan. I thought formally that was a big negative aspect but I think that it is not possible really to count who is a Christian who is not Christian.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“From 2030, I have translated myself, but it is very time consuming. That's why I gave up recently, but we have very good colleagues to make good translations.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“To talk about that thing and also the German text is of course basically impossible in Japan to understand immediately but that's why we need translations. We provide all the time Japanese translations to audience and also for the orchestra people, all the musicians. But this kind of translation work is part of very important interpretation work because we read the Bible for example the only through the translations no one in this world raised the original language in Old Testament New Testament. So actually in order to make this kind of translations we have to think on that, consider what it really means and so on all the time. So I try to make quite some translations of Bach's countertas.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“I don't think so, but only thing basically Japanese people don't have any Christian background or tradition in the country. So sometimes I have to explain what the text says and so on and also this and that text comes from this and that, the text of the Bible and so on. But this kind of explanation is not possible in Europe, for example, because everything is already taken for granted. So that no one can really explain about the Jesus parables. And so in Japan, I think it's very good to have that kind of chance to...”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“That, but the in between during our working together, they have developed a lot. So that is very nice. And they inspired me again. So this kind of vice versa, the inspiration is very, very nice.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, the most important aspect from musicians is probably how much they can devote to the music, sometimes how much interest they have in that music. Well, I do, for example, sing as auditions very often. Well, of course, I can judge sometimes technical aspect, how good or the technical, but not only the techniques are the most important thing probably their interest and how much they can devote themselves to music. That is the most important thing. So I'm very happy to have now our members, an orchestra and singers, and at the very beginning they didn't have any idea what is the Bach Cantata especially. And the choral music or this kind of ensemble music, how to do that.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“I'm trying to understand and I'm trying to come closer to Bach's sense of Bach's mind, but actually it is very difficult. The more you work, the more distant you can get. Yes, that's true.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, Bast Music has always, together with some kind of puzzles and enigma, so that you can never get an answer to all that kind of unknown aspects of the Bach, for example, Konstefuga, for example, the Art of Fug, for example, we don't know why he has really written or what kind of a situation it was not finished. And in the contacts, for example, there are plenty of very difficult places to understand why he did in this way and so on. Most of the cases we can find some answers from the texts, but still it is not so easy to understand everything. And that was very good.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, I have no idea about other people, but productivity, well, that Only, all the bach's music is so fascinating, so I can't stop working simply. Yeah, well, I never tried to be productive whatsoever. Just only I want to... Pursue how to improve our performance, how to realize this and that the music of Bach and not only Bach, that is only music is there, so nothing else.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, well, yeah, but have to go to organ is, for example, there's a completely different instrument, but still based on the same idea how to make a music and also conducting choir conducting especially, you know, there's exactly the same feeling as you play the fuga on organ. For example, theme comes now soprano and something like that. So that's exactly the same. So only thing the choir has text, so that's much more better than organizing.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source