01. Kyrie in B major 1. Introduzione
02. Kyrie in B major 2. Kyrie
03. Kyrie in B major 3. Christe
04. Kyrie in B major 4. Kyrie
05. Gloria in D major 1. Gloria
06. Gloria in D major 2. Et in terra
07. Gloria in D major 3. Laudamus
08. Gloria in D major 4. Gratias
09. Gloria in D major 5. Domine Deus
10. Gloria in D major 6. Domine filii
11. Gloria in D major 7. Domine Deus, Agnus dei
12. Gloria in D major 8. Qui tollis
13. Gloria in D major 9. Qui sedes
14. Gloria in D major 10. Quoniam
15. Gloria in D major 11. Cum Sancto
16. Missa del sesto tuono 1. Kyrie
17. Missa del sesto tuono 2. Gloria
18. Missa del sesto tuono 3. Kyrie
19. Missa del sesto tuono 4. Sanctus
20. Missa del sesto tuono 5. Benedictus
21. Missa del sesto tuono 6. Agnus dei

Maria Zadori - Soprano
Judit Nemeth - Alto
Lotti Chamber Choir
Camerata Pro Musica
Maestro Ferenc Rózsa - conductor

The high point of Antonio Lotti's career came in 1719 when his operas inaugurated the opening of the new opera house 'am Zwinger' in Dresden. They were also as part of the extraordinarily extravagent musical celebrations surrounding the marriage of the Crown Prince and Maria Josepha.

It is symptomatic of the problems concerning the history of music of the early 18th century that doubt exists regarding Antonio Lotti's nationality. He is either to be regarded as German or Italian, with either Venice or Hanover named as his birthplace. Coincidentally it was in Germany and Italy that Lotti undoubtedly had his greatest successes.

Lotti's father Mateo was Kapellmeister at Hanover and presumably provided his early training. By the age of sixteen he was in Venice studying with Giovanni Legrenzi. In 1687 as a singer (alto) he began an association with the Basilica of St. Marks which was to continue until his death. The Basilica of St. Marks, adjacent to the Doges Palace was of central importance to the republic. The doge worshipped in St. Marks on special occasions and sacred music developed to represent his and the republics best interests. His progression involved periods as assistant to the second organist (1690-1692) and second organist (1692-1704). In 1698 Lotti received 100 ducats for the completion of a book of masses. Whilst as first organist (1704-1736) he failed to gain sufficient votes in the competition with Pollarolo and Porpora for the maestro di capella post. Eventually, after three years he gained the position primo maestro di capella after a further competition with Pollarolo and Giovanni Porta. As maestro di capella he earned 400 ducats and free lodging at the Piazza Canonici.

In addition to his duties at St. Marks Lotti also wrote music for the famous female choir, whose training he supervised, based at the Ospedale degli Incurabili, one of the four ospedali in Venice. The other ospedali were the Ospedale della Pieta, the Ospedale dei Mendicanti and the Ospedale dei Derelitti ai SS giovanni e Paolo. The ospedali or 'hospitals' were charitable institutions that provided shelter and accommodation for female orphans. Music making at these institutions was so developed by the beginning of the eighteenth century that noblemen were attempting to secure places for their talented daughters education at these establishments. Antonio Vivaldi was closely associated with the Ospedale della Pieta and composed many concerti for this institution. For Venetian composers and musicians they provided an important source of income.

Lotti composed three operas for the Dresden court, the first, Giove in Argo, was performed on the 25th October 1717 in the Redoutensaal. This opera was also produced in the inaugural performance of the new opera house, am Zwinger on 3rd September 1719 as part of the extravagant celebrations surrounding the Crown Prince's wedding. Lotti's opera Ascanio, ovvero Gli odi delusi dal sangue was performed on the 7th September and the high point of the celebrations was reached by the performance of Lotti's new opera Teofane on the 13th September. [Click here for a fuller description of the wedding celebrations]

In October 1719 Lotti and his wife Santa Stella were the first members of the opera ensemble to leave Dresden. As a souvenir of his visit Lotti kept the carriage and horses that had been given to him for his return trip to Venice. By February 1720 the entire Italian opera ensemble was dismissed under the pretext of a quarrel between Senesino, Berselli and Kapellmeister Heinichen.

After his successful period in Dresden remained in Venice except for one trip outside the city until his death in 1740. ---David Charlton, classical.net

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1. Requiem in F major/Requiem/Requiem aeternam	3:28	 
2. Requiem in F major/Kyrie/Kyrie eleison	6:04	 
3. Requiem in F major/Dies Irae/Dies irae	3:28	
4. Requiem in F major/Dies Irae/Quantus tremor	1:33
5. Requiem in F major/Dies Irae/Tuba mirum	1:02	
6. Requiem in F major/Dies Irae/Mors stupebit		2:40	
7. Requiem in F major/Dies Irae/Liber scriptus		2:14	
8. Requiem in F major/Dies Irae/Judex ergo	0:47	
9. Requiem in F major/Dies Irae/Quid sum miser	2:14	
10. Requiem in F major/Dies Irae/Rex tremendae	1:04	
11. Requiem in F major/Dies Irae/Recordare, Jesu pie	2:15	
12. Requiem in F major/Dies Irae/Quaerens me		0:51	
13. Requiem in F major/Dies Irae/Juste judex	1:26	
14. Requiem in F major/Dies Irae/Ingemisco tamquam reus	0:43	
15. Requiem in F major/Dies Irae/Qui Mariam	2:41	
16. Requiem in F major/Dies Irae/Preces Meae		1:22	
17. Requiem in F major/Dies Irae/Inter oves	1:16
18. Requiem in F major/Dies Irae/Confutatis maledictis		2:22	
19. Requiem in F major/Dies Irae/Oro supplex		0:55	
20. Requiem in F major/Dies Irae/Lacrimosa	1:44
21. Requiem in F major/Dies Irae/Judicandus	1:52
22. Requiem in F major/Offertorio/Domine Jesu Christe		1:48	
23. Requiem in F major/Offertorio/Hostias et preces	1:37	
24. Requiem in F major/Offertorio/Quam olim		0:51	
25. Miserere in D minor		9:30	
26. Credo in F major/Credo	3:25
27. Credo in F major/Crucifixus		3:37
28. Credo in F major/Et resurexit (Presto)	2:39	
29. Credo in F major/Sanctus (Allegro)	0:52	
30. Credo in F major/Et vitam	1:26

Balthasar-Neumann-Chor
Balthasar-Neumann-Ensemble
Thomas Hengelbrock - Conductor

This disc is representative of a lost generation of composers whose wonderfully inventive music lies forgotten only to be resurrected recently to great critical acclaim. Antonio Lotti held positions of importance during his lifetime and there is no doubt that he was highly regarded in important European musical circles such as Leipzig and Venice. There however the details end as no records have survived to clarify Lotti's achievements and work during his life. What is definite is that his work was outstandingly proficient and highly innovative as this heavenly Requiem demonstrates.

In it Lotti employs the usual traditionalist Baroque techniques but the way the voices are projected is uncanny and way ahead of its time. The Dies Irae contains some powerful declamations especially in the 'Confutatis maledictis' and the beautifully alive 'Liber scriptus'. All is powerfully handled by the Balthasar Neumann Choir and Ensemble under the able hands of Thomas Hengelbrock who directs with commitment and passion throughout. The instrumentalisation in the Requiem is quite disarming with rapturous solos here and there adding concertante and ripieno effects, striking harmonic ambience and shattering drama in the concluding pages.

Hengelbrock also finds room for the short but striking 'Miserere', a beautiful study in sustained harmonics and the longer Credo, a spellbinding combination of dissonanaces superbly performed by the choir. All three works demand a special place in the sacred repertoire and I can think of no better advocate to this marvelous music than Thomas Hengelbrock and his outstanding Balthasar Neumann Ensemble and Choir. The conductor also writes the short notes which espouse on the legend and curriculum of Lotti's life work. Almost like an Atlantis of baroque music this Requiem should open the gates so let's hope that more Lotti will resurface in the years to come. ---Gerald Fenech, musicweb-international.com

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