With 26 Corelli ''Christmas'' Concertos and 16 Vivaldi Glorias in the current catalogue already, one's first instinct might be to question the need for the present disc, even allowing for the fact that it also includes a little-known Christmas pastoral cantata by Scarlatti. But the performances are so persuasive that any such reservation is swept aside. The recordings were made in the church of Santa Maria Maggiore in Rome—very appropriate for the two works first mentioned, which had Roman connections—and deserve the highest commendation for capturing a warm resonance while preserving admirable clarity (note the cello's running quavers in the Corelli and the choral ''Propter magnam gloriam'' fugue in the Vivaldi).
Pinnock's English Concert have recorded the Corelli previously, but here the listener is struck by the calmly solemn Grave, the welcome presence of a theorbo in the continuo, the gently contrasted dynamics and the reverentially tender Pastorale. The drones of the zampognari which that imitates are also suggested in the finale (likewise in a pastoral compound-time metre) of the Scarlatti. The charm of this short work, which also contains a joyous first aria and a more substantial second with expressive chromaticisms, is heightened by Nancy Argenta's pure voice. In terms of vibrato, there is some disparity between her and the other two soloists in the Vivaldi Gloria, but all three are good, and if the small (18-voice) chorus is not tonally outstanding, it is efficient and the clarity of its words is excellent. Highlights of the performance are the spring-heeled orchestral opening, the hushed tension that Pinnock secures in ''Et in terra pax'', the lightness of the ''Laudamus te'' duet and Paul Goodwin's oboe obbligato (with discreet decorations) in ''Domine Deus''.'