Again...
the nay-sayers of remastering from early (not so much early here...) to DSD have their arguments' hopes frustrated by the miraculous work done by BMG Japan.

GL St Matthew-Passion is a monument, where it is so easy to fall into the "One only needs a bunch of baroque performers, to execute The St Matthew Passion - after then having almost 40 years of experience, practice and dedication to the Historically Informed Practice Cause, Leonhardt did what only the happy few could - He made this Bach masterwork his own. Every expressive detail was used with the utmost confidence and awareness of the late Baroque Style.

Above all, however, Leonhardt understood that the HIP is a dialectic process, and even more so, as far as the StMP is concerned - This 'Passion' was the precursor of the Romantic movement too, and moments like the Aria "erbarme rich, the Turbae chorus "Sind Blitze Sind Donner im Wolken verschwunden", the almost "Heldentenorisch" recitative that came just after Jesus' Death carry the unequivocal Wagnerian imprint on them, and Leonhardt can apply this proto romanticism, without falling into stylistic incongruence.

Leonhardt distributes his soloists exactly within the confines of the Double-Chorus setting, and apart from a somewhat 2nd Chorus Tenor soloist (at "Geduld! Geduld..."), all the soloists are consummated masters, even Max van Egmond, well past his best, is a Paragon of a Christ

I‘ve just bumped into the SONY CD Version (2011), and it says that this recording was remastered to 24/96.

I Wonder If this remastering/upsampling was the same used by BMG Japan, as Basis for its DSD 2012 remastering.