One could be forgiven for assuming that a distinctly Gallic backdrop, in its overall taste and sensibility, might inform Marc Minkowski’s Bach. In fact this intense and reverential performance of the “High” Mass draws less on a particular approach or tradition than a well-argued ideal for shaping this mighty edifice. Minkowski’s note reveals the aim to create “a single imposing vocal instrument which sings the same faith in the same language”.

Les Musiciens du Louvre act this out with the current trend of soloists emerging from a one-to- a-part chorus. Recorded in the glowing acoustic of Santiago de Compostela, the primary ambition appears to be one where vocal character is enriched by a vibrant and quite substantial instrumental presence. The two “Kyries” are particularly lush and the figural high-points in Part 2, such as the “Et incarnatus” and “Crucifixus”, are nuanced with a profound sense of purpose and contemplative power.

As for the solo singing, careful judgement has been made to cast the right protagonists and, by and large, the choices are persuasive, most notably the soprano contribution of Lucy Crowe in the duets and the two basses; “Quoniam” is a bustling, bucolic affair in Luca Tittoto’s hands, despite too much moving around the microphone, and Christian Immler’s “Et in spiritum” especially sympathetic. Nathalie Stutzmann is a class apart, at best in the timing and colouration of a very slow “Agnus Dei”, but spoilt by moments of pouting indulgence.

The prevailing sense throughout is that the raw impact of the “live” experience – which, by all accounts, was exceptional in July 2006 – translates less well on repeated listening. It’s not just that sopranos are swamped in the “Et in terra pax” and elsewhere (and screaming doesn’t help) but that rushing, poor blend, tuning, pitching and ensemble jar just too often. Whether promoted from a scholarly or pragmatic angle, the danger of the small vocal ensemble is that things “stick out” and disturb the line and this becomes a fundamental problem at high speed, such as in the “Cum Sancto” and “Credo”.

The most outstanding aspects of this performance involve the linear focus and Minkowski’s musical instinct to draw out the imagery with discrimination, on one hand, at the same time as sustaining the arch right through to the “Dona nobis” (which is grand and consummating here, as opposed to the pedestrian allegros we hear so often). The large-scale movements with trumpets and drums are wonderfully exuberant exclamations, especially the “Gloria” and “Et expecto”, roulades of joy which never tire.

Minkowski’s performances are always alive to subtle refinement in sounds, and this new Bach cycle – a brave start – will doubtless afford a fresh look at pieces outside received orthodoxy. I imagine, like this recording, the journey will be riveting, enriching but at times discomforting.