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

“Conducting is actually I have been always outside of my idea because when you perform cantata or whatever ensemble music, someone must lead, very possible from the harps code, as the Bach did and so on. So I did in that way. So gradually I made some ensemble with my brother and my brother's colleague and so on. And then we simply started to perform the contactors one by one. And I, for example, I gave them some sign or some signature so my brother criticized it. I mean, oh, that is not clear. Which temple do you want? They throw only philosophers through this kind of discussion. I became a conductor. I'm not the conductor in... really traditional sense.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“And she was really genius person. She spoke more than six languages in Europe and she has spent quite a long time in Europe and she came back to Japan and I met her and I got a lesson from her. And that was really changed my life. And she introduced me to Tonkopman, who was the schoolmates of her. So they were together in Gustav Revenhart's class. So I went to Amsterdam and I went to the Tonkopma concert on the day of my arrival and that was really shocking. That's really so fresh and so exciting on I decided to come to Amsterdam and that was a very good decision I thought.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“No, no, actually, in this way I was completely fascinated by the organ itself. So that's why I started to play organ and I got lessons when I was a teenager. Before the university time. And then I wanted to study more organ. And my first organ teacher was a Belgian priest actually in Osaka. I told him that I wanted to be an organist. And so listen, Osaki said, there is no good organ in Japan at all. So that is no good idea to study to organ here in Japan. So why don't you study composition? So I did study composition and in the university. That was very good, the career, very good process to understand music. And in between, I just happened to meet the harpsodist called Motoconabashima, Japanese, the kind of first generation harpsist who studied with Gustav Leonhardt in Amsterdam.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yeah, well, I listened to the, for example, the Mengelberg St. Master Passion a couple of times just as an example. That is a very famous example in history. Yeah, well, that is of course completely different, but probably at that time it was a very beautiful performance, I think. And that's quite romantic. Tempo is completely slow. Well, I have no idea how it was accepted, but actually did work out at that time. So this kind of sense of value about the performance is changing all the time. So I think we belong to the quite different generation, but at that time it must have been very right for me and very stimulating to do the Bach music.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“you just blown away no no yeah well for other interviews i have listened back to to that record recently and that was completely different and well it is not acceptable at all for my years because he was a character must have been really wonderful musician and also he played school by himself and by the conducting for example for saint master passion without seeing any scores that is a really amazing thing but anyway that's his way of music making the well completely modern not only modern but the kind of machinery like the note by note and so on that is really not acceptable anymore but at that time that that made probably a lot of excitement for the audience and that's very nice i think”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Did you feel That's really, yeah, that's a little stupid. Well, I was very, very excited not only with that music, but also I got the quite big stereo equipment stereo equipment from my father. And then I was very excited to listen to whatever with headphone. Headphone was also a very fast experience. And anyway, the B-man was so fantastic, so wonderful, but I didn't understand anything from the text from the music. The music was much too complicated and the only thing I played quite much trumpet in the brass band. So that's why the trumpet playing by the German trumpeter, the Adorf Scherbaum, that was really fascinating.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Oh, he didn't have a chance to compose any Lutheran cantata at that time. From one side he must have been very happy to compose the organ works, instrumental works and also secular cantata and so on. But probably he wished to do more work to the Lutheran world, the Lutheran church and so on. That's why he moved to Leipzig, I think.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Or arrangements and so on. So he was also helpful to inspire the musical activity in this world. So I think in this way we can evaluate all the musical or whatever cultural activity in this world, the other kind of under the very big notion as the general grace of the God.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Know what's coming more than in other parts of the Bible, exactly, yes. So actually, I'm very grateful to be a Calvinist because Calvin was probably, well, I don't know, I'm not no theologian, I'm no historian, but still according to the knowledge, Calvin was one of the first reformators who acknowledged the value of the activity and culture of this world, not only in that world, in heaven. So it is very often said Calvin was not so sympathy to the music or culture whatever, but that is not true. And he has limited the congregational singing only for the sound, but other than church, it's outside of the church he has helped some quite much cultural activity, for example publish of the psalm thing.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“From my point of view, we are doing this work as just a simple general sacred music, sacred the work. And we are performing this music not in the liturgy anymore and we are doing it in the concert. So there are plenty of ways to accept or receive or appreciate this music. So we are doing simply the musicians to do our best to do the sound wise and text-wise, everything as good as possible. So I think the music can work afterwards to the individuals according to their situation or thoughts.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Yes, that is a very, well, the structure consists of the choir and the turba, so the massa people, the shouting and so on. At the same time, the choir was also supposed to sing the choral. And so the multi-functions all the time choral.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Really, only if major occurred from the beginning until the end just to recite all the Bible texts and so on, that will still perform. So the very first passion of Bach in the Lapsi time was a St. John passion, which was a really shocking experience for everyone, I thought.”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source
“Well, probably no one expected at the time to have that dramatic passion because the tradition of derived from the reading the Bible in the liturgy. So it probably firstly it was only thought as to Bible reading, but not simply reading instead of citation, so with some tones. So that was developed to the music, passion music, and by the time of Bach that was already developed as a kind of oratorial passion. So that was actually the very dramatic experience already, but still Bach's time on the one week before the Easter, the passion of the Johann Walter was still performed. That means”
2024-02-21 · Conversations with Tyler · Masaaki Suzuki on Interpreting Bach · IDENTIFIED FROM THE TRANSCRIPT · source