While the German tradition observes a strict distinction between sacred and secular styles, the 19th–century Italian Mass can feel more akin to attending an operatic performance. Donizetti’s church music, consisting of at least a hundred items, has hardly been explored. Individual movements were often later recycled by the composer, in cantata–like fashion, to form a complete Mass, and it is this ad hoc technique that Franz Hauk has used to create a new work, the Messa di Gloria and Credo in D. This includes an expansive Qui sedes with its violin solo written for the famous violinist–composer Pietro Rovelli, and is completed with movements by Johann Simon Mayr from whom Donizetti learned his compositional craft in settings of sacred texts.