The orchestra and chorus are comparatively small under Suzuki, the tempos slightly on the fast side, the soloists able to cope with the appalling difficulties of their music, but not outstandingly beautiful…I suspect that Beethoven would have approved of Suzuki’s intransigence, so like his own, but whatever is the polar opposite of easy listening, this is it.

Beethoven’s primary concern when writing his Mass was to interpret the liturgical text with precision and to convey its meaning to the audience. Masaaki Suzuki’s insightful reading of the score certainly does that. Thoughtful and exhilarating, it carries the listener along on a great wave of sound. His soloists are well chosen and the singers and orchestra maintain the highest standards. There is so much clarity that comes out of this reading, from the fresh voices of the singers to the precise articulation of the orchestral playing. Highly recommended.

Suzuki’s successes with [the piece] seem to come principally from his keen ear and personal charm. For those who find weightier performances daunting (and nothing wrong with that!), this friendly account is certainly worth hearing, but in the wider context it leaves much unsaid.

Despite the relatively small instrumental and choral forces (just over thirty singers and four desks of first and second violins), the momentum never slacks, and the energy is relentless in the best possible way...Though this is very much an historically-informed performance (using gut strings and relatively straight-toned voices), it’s also one in which the uncanny modernity of Beethoven’s writing springs to the fore.

The performance has warmth, energy and an exact feeling for tempo. The Japanese chorus rise fearlessly to Beethoven’s demands. A memorable musical and emotional experience.