Until the middle of the 17th century the Polish musical profession, centred on Kraków and Warsaw, was dominated by Italian composers, including Marenzio, Pacelli and Scacchi. Pe˛kiel (fl1633-70) eventually became maestro di capella at Warsaw’s Chapel Royal before his death in 1670, having assimilated both the stile antico for his ‘strict’ polyphonic sacred vocal works, such as the crisp motet Assumpta est Maria, and the stile moderno for his more expressive and – to our ears – startlingly adventurous vocal-instrumental compositions.

This craftsman’s masterful music is presented here with an assured charisma by the mighty Sixteen (expanded to 17 singers for the beautiful extended dramatic scena Audite mortales – the undoubted highlight of the programme). Their associate conductor, Eamonn Dougan, draws typically golden performances from his vocalists and mixed instrumental ensemble. Of the latter, David Miller and Frances Kelly (on theorbo and harp respectively) provide filigree decorations. The trio of sackbuts blends seamlessly into the counterpoint of the extended Kyrie of the Missa concertata ‘La Lombardesca’, with its delightful circles-of-fifths progressions. Throughout the Mass, Pe˛kiel weaves a constantly shifting array of textures from his double choir, soloists and ‘band’.

The dryish acoustic of St Silas the Martyr, Kentish Town, London, allows everything to be heard in clear relief. Sit back and relish this treasure trove which has clearly been prepared with passion.