Lotti - Crucifixus | Delphian DCD34182

Lotti - Crucifixus

£12.56

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Label: Delphian

Cat No: DCD34182

Format: CD

Number of Discs: 1

Genre: Vocal/Choral

Release Date: 22nd April 2016

Contents

Artists

The Syred Consort
Orchestra of St Paul’s

Conductor

Ben Palmer

Works

Lotti, Antonio

Credo
Dixit Dominus (Psalm 109)
Miserere
Missa Sancti Christophori

Artists

The Syred Consort
Orchestra of St Paul’s

Conductor

Ben Palmer

About

Despite a hugely prolific output spanning a career of more than 50 years, Antonio Lotti is now known almost exclusively for his eight-part setting of the ‘Crucifixus’. It is not widely known that that motet is in fact part of a complete Credo setting, itself part of the Missa Sancti Christophori that receives its first recording here.

Much of Lotti’s music was written for the Basilica of San Marco in Venice at a time when expense and extravagance were not spared. He often wrote daringly for much bigger forces than were usual; in reviving Lotti’s music, that sheer scale can present a challenge. Rhythmic shock and awe, masterful variety, incessant invention and a defiant refusal to conform make this music overripe for revival. Lotti is at the cutting edge of the galant style that prefigures the Classical era; his harmonies can be surprising, daring – even outrageous.

For their debut on Delphian, The Syred Consort and Orchestra of St Paul’s have collaborated with musicologist Ben Byram-Wigfield to bring this survey of Lotti’s music to life. Ben Palmer’s singers dazzle in their virtuosity, and the instrumentalists play with immaculately crisp ensemble. There is excitement. There is hushed poignancy. And throughout there are Lotti’s luscious harmonies, which make this music nothing short of addictive.

Reviews

The plangent dissonances of Antonio Lotti’s setting of the Crucifixus are well known to choral singers: here the scholar Ben Byram-Wigfield has put it back in a complete mass setting, which turns out to be a curious concoction partly by Lotti (1667-1740) and partly, adapting his music, possibly by his pupil Jan Dismas Zelenka. Both here and in another G minor Credo, Lotti’s music is strongly profiled, solidly baroque, with an especially expressive fugue at the end of the Gloria, then re-used in the Benedictus.  Nicholas Kenyon
The Observer 15 April 2016

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