On this showing, the Saito Kinen Orchestra can rank with the world’s finest. Quite aside from their purely technical attributes (pin-sharp articulation and intonational accuracy being among them), they now boast a distinct tonal profile all their own – clean, light and full bodied, with sweet-centred woodwinds and agile strings. This new Schubert Ninth is fairly typical. Fleetness and energy are offset by keen inflexional activity (note Ozawa’s curvaceous phrasing of the Scherzo’s Trio, from 6'12'') and lyrical phrasing, with spicy woodwinds in the first movement Allegro’s second subject (track 1, 4'17'') and an unforced momentum in the finale’s big central build-up (from 8'41''). Ozawa’s choice of repeats is more interesting than convincing in that he decides against the first movement’s repeated exposition but opts for repeated material in both the Scherzo and the finale. The one minor disappointment is in the Andante con moto, where the fierce brass exchanges at 7'51'' lack drama. In other respects, however, the Saito Kinen’s phrasal intelligence, orchestral discipline and interpretative directness have worn well after three playings. But does this version pip its best modern-instrument rivals at the post? Not really. To be honest, seasoned collectors are unlikely to find much in Ozawa’s performance that has not already been as well stated (though not always as well recorded) elsewhere – most notably by Szell, Abbado and Karajan, not to mention a plethora of hugely characterful ‘oldies’. Szell is my own stereo first choice (his Sony recording balances finesse and fire in equal measure), but Ozawa’s is a keen and animated overview that should please all but those wedded to specific interpretative preconceptions.'