These two Masses were performed in Rome almost 30 years apart by composers both strongly associated with Naples. The Messa di S Emidio (also known as the Missa Romana) is one of only two works that are accepted as authentic Pergolesi Mass settings, although different versions survive. The first was apparently composed for a service in the Neapolitan church of S Maria della Stella de’ PP Minimi in 1732, but Pergolesi later revised it for several choirs and two orchestras (the version recorded here). When performed in Rome at S Lorenzo in Lucina in 1734 an eyewitness described the music as “terrifying…ingenious and most unusual”. One can instantly perceive why: Concerto Italiano’s 10 singers and 19 instrumentalists (including two horns and two trumpets) make an extraordinary noise in the stacking chords that commence the volatile Kyrie. Some of Alessandrini’s singers suffer from dodgy tuning at first, but things soon settle down, and reflective moments are particularly well performed (such as a striking “Qui sedes ad dexteram Patris”).

The disc concludes with an impressive account of Alessandro Scarlatti’s magnificent Messa per il Santissimo Natale (“Christmas Mass”). Written in 1707 for the Roman Basilica S Maria Maggiore, it shows Scarlatti’s mastery at fusing Renaissance stile antico for two choirs (with very little doubling) with solo voice passages and imaginative instrumental parts for two violins. Concerto Italiano are on especially good form in Scarlatti’s finely woven counterpoint (Agnus Dei is exquisite), though both neglected Masses benefit from Alessandrini’s articulately shaped interpretations.