13-安东尼奥·洛蒂：十字架上的基督 Hi-Res
艺术家：赛雷德合唱团、圣保罗管弦乐团、本·帕尔默
标题：安东尼奥·洛蒂：十字架上的基督
发行年份：2016年
厂牌：德尔菲安
流派：古典
音质：FLAC（分轨，含小册子）
总时长：1小时19分28秒
总大小：827兆字节/365兆字节（注：此处可能存在数据顺序颠倒，通常FLAC文件大于MP3）
网站：专辑预览
曲目单
安东尼奥·洛蒂（1667-1740）
01. G小调《主说》 08:31
C小调《慈悲经》
02. 主啊，求你可怜我 04:17
03. 因我的罪孽 04:14
04. 求你垂听 04:35
05. 创造清洁的心 07:13
06. 因为你本不喜爱祭物 06:01
圣克里斯托弗弥撒曲
07. 垂怜经 04:37
08. 荣耀经 08:34
09. 信经 - 十字架上的基督 10:21
10. 圣哉经 02:17
11. 降福经 01:56
12. 羔羊经 03:38
G小调信经
13. 我信唯一真神 03:33
14. 及道成肉身 - 十字架上的基督 04:51
15. 间奏曲 - 及圣神 02:37
16. 我信唯一、至圣 02:16
这张德尔菲安厂牌的专辑以安东尼奥·洛蒂最著名的作品《十字架上的基督》（第9轨，八声部版本）为题，这首作品因其简洁而丰富的不协和音链深受大小合唱团喜爱。小册子中解释了为何这首作品及另一首六声部《十字架上的基督》广为人知，而洛蒂的其他音乐却被遗忘。但赛雷德合唱团与圣保罗管弦乐团在指挥本·帕尔默的带领下，将焦点放在这些被遗忘的作品上——除两首《十字架上的基督》外，专辑中其他曲目均为首次录音。仅凭这一点，该录音便具有重要价值：洛蒂为威尼斯圣马可大教堂创作的音乐虽在18世纪初已过鼎盛期，但仍具重要意义。事实上，洛蒂是极富创新性的捷克作曲家扬·迪斯马斯·泽莱卡的老师，泽莱卡曾将洛蒂的部分作品整合为更宏大的篇章。
尽管这些音乐未能形成统一的创作风格，但从未令人感到枯燥。洛蒂创作了肃穆的赋格、配器厚重的准歌剧式合唱，最引人注目的是轻快的旋律素材，展现出前古典时期华丽风格在18世纪20年代已取得的进展。聆听《圣克里斯托弗弥撒曲》的前几个乐章（第7-12轨），其音乐风格仿佛晚写了50年。此外，听到圣马可大教堂的建筑声学被运用于加布里埃利和蒙特威尔第之外的音乐（洛蒂显然时有借鉴）也颇具吸引力。根据1766年卡纳莱托描绘圣马可合唱团的画作，赛雷德合唱团13人的规模恰到好处，复杂的音乐线条在其中清晰交织。或许有人未必认同注释者将洛蒂与半个世纪前的维瓦尔第相提并论，但不可否认，这张专辑对18世纪音乐爱好者而言极具吸引力。
~ 詹姆斯·曼海姆
Artist: The Syred Consort, Orchestra of St. Paul's, Ben Palmer
Title: Antonio Lotti: Crucifixus
Year Of Release: 2016
Label: Delphian
Genre: Classical
Quality: FLAC (tracks, booklet)
Total Time: 1:19:28
Total Size: 827 / 365 MB
WebSite: Album Preview
Tracklist:
Antonio Lotti (1667-1740)
01. Dixit Dominus in G minor 08:31
Miserere in C minor
02. Miserere mei deus 04:17
03. Quoniam iniquitatem 04:14
04. Auditui meo 04:35
05. Cor mundum crea 07:13
06. Quoniam si voluisses 06:01
Missa Sancti Christophori
07. Kyrie 04:37
08. Gloria 08:34
09. Credo - Crucifixus 10:21
10. Sanctus 02:17
11. Benedictus 01:56
12. Agnus Dei 03:38
Credo in G Minor
13. Credo in unum deaum 03:33
14. Et incarnatus est - Crucifixus 04:51
15. Ritornello - Et in Spiritum 02:37
16. Et unam sanctam 02:16
This Delphian label release uses the title of Antonio Lotti's most famous composition, the Crucifixus à 8 heard here on track nine and performed by choirs great and small who love it for its simple, rich chains of dissonances. The booklet explains how this work, and a companion Crucifixus à 6, became well known while the rest of Lotti's music was forgotten. But the Syred Consort and the Orchestra of St. Paul's, with conductor Ben Palmer, focus instead on just those forgotten works; nothing on the album other than the two Crucifixus settings has ever been recorded before. The recording is worthwhile for that reason alone; the music Lotti wrote for performance at St. Mark's Cathedral in Venice was past its prime by the early 18th century, but still significant. Lotti, in fact, was the teacher of the highly original Czech composer Jan Dismas Zelenka, who assembled some of Lotti's compositions into larger wholes. The music here is never boring even if it never coheres into a single creative statement. Lotti writes sober fugues, heavily orchestrated quasi-operatic choruses, and most strikingly, bouncy melodic material that shows just how much progress the pre-Classical galant style had made by the second quarter of the 18th century. Sample the early movements of the Missa Sancti Christophori (tracks seven through 12) for music that sounds like it was written 50 years later than it was. It's also fascinating to hear the St. Mark's architecture applied to music other than Gabrieli's and Monteverdi's, as Lotti at times clearly does. The 13-person choir size of the Syred Consort is just right, judging from a 1766 Canaletto painting of the St. Mark's choir, and the sometimes dense strands of the music weave together clearly. One may decline to accept the annotator's suggestion that Lotti is right where Vivaldi was a half-century ago, and yet affirm that the album is of considerable interest for lovers of 18th century music. ~ James Manheim
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