Antonio Lotti – Crucifixus
Syred Consort; Orchestra of St. Paul’s; Ben Palmer
Delphian DCD34182
(delphianrecords.co.uk)
Antonio Lotti died in 1740 and by the end of the 18th century his music had been virtually forgotten. In 1838, however, two of his settings of the Crucifixus were republished and it is these settings by which Lotti is still generally known – in so far as his music is known at all. This recording demonstrates, however, that both pieces are parts of larger works: the Crucifixus for eight voices is part of the Missa Sancti Christophori, while the Crucifixus for six voices is part of a Credo in G Minor. This recording gives performances of both works and shows the context from which the two Crucifixus settings were plucked. Both settings of the Crucifixus gain a great deal from being placed in the right context. There are two other works on the disc: a setting of the psalm Dixit Dominus and a Miserere in C Minor.
In the booklet that comes with the CD Ben Byram-Wingfield mentions the recent interest in early music, saying that Vivaldi’s Gloria and his Four Seasons were “almost unknown only a handful of decades ago.” That is surely an exaggeration. I don’t know about the Gloria but I well remember that The Four Seasons evoked a great deal of interest as far back as the 1950s.
This CD constitutes an important addition to the Baroque music available on disc. Lotti’s voice is distinctive. No one is likely to confuse his style with that of Bach or Handel, although that of Vivaldi comes closer. The Syred Consort is a chamber choir of 13 voices. Much of the music is one on a part and the singers are good enough to perform it. Ben Palmer’s conducting ensures the rhythmic vitality of the performances.
