Special offer. Lotti: Crucifixus
The Syred Consort & Orchestra of St Paul’s, Ben Palmer
Awards:
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Presto Recording of the Week, 22nd April 2016
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Presto Recordings of the Year, Winner 2016
this disc is a particularly welcome unveiling of four rapturous sacred works…the music is a pleasant fusion of the rigorous Baroque idiom…and the then-fashionable style gallant, characterised...
Special offer. Lotti: Crucifixus
The Syred Consort & Orchestra of St Paul’s, Ben Palmer
Purchase product
Awards:
-
Presto Recording of the Week, 22nd April 2016
-
Presto Recordings of the Year, Winner 2016
this disc is a particularly welcome unveiling of four rapturous sacred works…the music is a pleasant fusion of the rigorous Baroque idiom…and the then-fashionable style gallant, characterised...
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.
All tracks except 9 and the ‘Crucifixus’ in 14 are premiere recordings.
Contents and tracklist
- Kate Ashby (soprano), Felicity Hayward (soprano), Ciara Hendrick (alto), Hugo Hymas (tenor), Oliver Hunt (bass)
- The Syred Consort, Orchestra of St. Paul's
- Ben Palmer
- Recorded: 7-8 October 2015
- Recording Venue: All Hallows' Church, Gospel Oak, United Kingdom
- Rachel Ambrose Evans (soprano), Ciara Hendrick (alto), Ruairi Bowen (tenor), Ben McKee (bass)
- The Syred Consort, Orchestra of St. Paul's
- Ben Palmer
- Recorded: 7-8 October 2015
- Recording Venue: All Hallows' Church, Gospel Oak, United Kingdom
- Rachel Ambrose Evans (soprano), Lucy Goddard (alto), Robbie Jacobs (tenor), Michael Craddock (bass), Ciara Hendrick (alto), Hugo Hymas (tenor), Oliver Hunt (bass), Felicity Hayward (soprano)
- The Syred Consort, Orchestra of St. Paul's
- Ben Palmer
- Recorded: 7-8 October 2015
- Recording Venue: All Hallows' Church, Gospel Oak, United Kingdom
- Lucy Goddard (alto), Ciara Hendrick (alto), Felicity Hayward (soprano), Rachel Ambrose Evans (soprano), Oliver Hunt (bass)
- The Syred Consort, Orchestra of St. Paul's
- Ben Palmer
- Recorded: 7-8 October 2015
- Recording Venue: All Hallows' Church, Gospel Oak, United Kingdom
Spotlight on this release
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Choral Music by Antonio Lotti from the Syred Consort
22nd Apr 2016
David listens to the Syred Consort's new disc of choral works by Lotti, including the first complete recording of the Mass from which his famous Crucifixus comes.
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Lotti from the Syred Consort
24th Mar 2016
David talks to conductor Ben Palmer about his new disc of long-lost Lotti.
Awards and reviews
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Presto Recording of the Week22nd April 2016
-
Presto Recordings of the YearWinner 2016
May 2016
this disc is a particularly welcome unveiling of four rapturous sacred works…the music is a pleasant fusion of the rigorous Baroque idiom…and the then-fashionable style gallant, characterised by suave melodies and lighter textures. Conductor Ben Palmer draws alert responses from The Syred Consort, highlighting to dramatic effect moments of vivid word painting, expressive chromaticisms and dissonance. There are stylish solo contributions, too
CD Review 30th April 2016
The recording lends a really nice halo to the voices, and it's great to hear more Lotti at last.
May 2016
The Sancti Christophori Mass is full of wonderfully fresh ideas and it is here that the ensemble, peccadilloes aside, most persuasively demonstrate their admirable commitment and feel for Lotti’s kaleidoscopic nuancing, not to mention a superior level of performance in this work…Ben Palmer has irrevocably identified a dine craftsman who is rather more than a ‘one-piece wonder’
July 2016
The four works on this disc are sung by the Syred Consort with exemplary vitality…fans of Baroque and choral music will surely stand in their debt for the revelation of a musical personality who speaks with a directness that is both beguiling and compelling
22nd April 2016
The immediate impression is of a rather Vivaldian style – not surprisingly, as the two were almost exact contemporaries. Yet at the same time the influence of Lotti's predecessor at San Marco – one Claudio Monteverdi – is clearly audible...This is clearly a labour of love for Palmer and his musicians...the superb musicianship on display shows Lotti in the best possible light, and I now feel I should get to know his music more.
15th May 2016
Despite the title, Palmer’s forces explore far beyond the three deliciously crunchy Crucifixus settings for which the Venetian Lotti (1667-1740) is known. ..Both larger works reveal a rich style, as do a vivid Dixit Dominus and an expressive Miserere.
15th May 2016
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. There are a good number of first recordings here, driven well by Ben Palmer.
Limelight Magazine
These are large-scale festal works of tremendous charm....Palmer's accounts are beautifully paced and articulated, aided by the extrovert contributions of the Orchestra of St. Paul's.
