In 1717 Domenico Scarlatti elected to settle in Portugal instead of staying in his seemingly cushy job in Rome as director of the Cappella Giulia at St Peter’s. Perhaps this indicated his desire to be independent of his domineering father, but his talent at composing church music while in Rome is nowhere plainer than in his magnificent Stabat mater. There are plenty of good recordings, many of them treating the deliberately archaic stile antico music as a vehicle for chamber choirs (for example, The Sixteen’s sweetly sung offering – Coro, 11/97R), but the trend which currently dominates seems to be the purist theory that Scarlatti’s music was envisaged for solo voices. Like Rinaldo Alessandrini and Concerto Italiano’s excellent madrigal-like version, both of these impressive new versions feature only 10 singers, accompanied by theorbo, violone and chamber organ.

I had no expectation to be thrilled by the Immortal Bach Ensemble – formerly the Leipzig Gewandhaus Chamber Choir – but in the event this budget-price Naxos disc showcases performances that are lovingly sung and finely crafted. In the first movement of the Magnificat the exposed tenors experience some tuning problems, but generally the small group of singers performs with impressive sonority and precise blend.

However, the young Dutch-based vocal group Vox Luminis offer something far more profound, rewarding and intoxicating. The singing is particularly beautiful or impassioned (according to what the music and text requires); in Stabat mater, “Sancta mater, istud agas” is astonishing for its spellbinding sonority and intelligent judgement. Not only are the group’s voices gloriously expressive while retaining clarity and immaculate coherence, but also the inclusion of two superbly played sonatas (performed on the organ) and some lesser known music (such as a four-part Miserere and a soprano-and-alto duet setting of Salve regina) make this an unusually attractive, imaginative and rewarding experience.