Suzuki's [Bach series] was initially rather restrained and reverential. No longer...the generous acoustic of the Chapel, reverberating for nearly four seconds, doesn't dull the crisp articulation...another superb contribution to Suzuki's Bach project.

the performances here do not disappoint. There's particularly crisp, clear choral singing in the contrapuntal opening chorus of Wer sich selbst erhöhet...The delicate solo violin playing and warm oboe d'amore obbligato deserve high praise and the balance of lyricism and rhythmic drive is well judged throughout.

Robin Blaze's sprightly and generous singing leaves us relishing the prospect of our passing...we are treated [in BWV47] to more of Hana Blažíkova, a Bach soprano of engaging disposition.

Suzuki achieves that rarest of balancing acts in Bach: a sense of spiritual gravitas, but lightness of touch; the delight in complexity, but absolute transparency of texture; rhetorical awareness of the text, but musical plain speaking. The solo team here is one of the best line-ups we've had for a while.

this 47th volume of his Bach Cantata Cycle is as good as any of its predecessors. There are plenty of surprises here too; in fact Suzuki and Bach make a good team. They are both endlessly inventive musicians, but each has a real sensitivity to the necessary balance between continuity and innovation in liturgical music.