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Gramophone Classical Music Guide, 2010

“Thanks to his only well-known piece, the eight-part Crucifixus, Antonio Lotti has a reputation as a Baroque conservative, fuddy-duddily turning out nothing but church music in old-fashioned, Palestrina-inspired counterpoint.
Yet, if there were such men in 18th-century Italy, Lotti ? singer, organist and later maestro at St Mark's in Venice, but also composer of around 20 operas ? wasn't one of them.
For proof one need only sample this impeccably 18th-century short Mass for soloists, choir and orchestra, a work that Bach and Handel made copies of, and which evidently left its mark on both of them.
Handel actually 'borrowed' two bits of it for oratorios, but further stylistic resemblances are plain to hear. As for Bach, it's hard to believe that the meandering choral chromaticisms and coaxing accompaniment of the 'Qui tollis' weren't in his mind when he fashioned the 'Crucifixus' of the B minor Mass. Furthermore, Lotti must have known Vivaldi personally; we don't who wrote first, but anyone familiar with the Vivaldi Gloria will spot similarities of approach in several movements. This is a fascinating find, and well performed by the pleasingly cohesive Balthasar-Neumann Ensemble, who convey its mood of bright confidence.
The coupling is Bach's Magnificat in its original E flat version, which differs from its betterknown D major revision in several respects: the most significant are four irresistible extra movements for Christmas. Recordings are rare, though there is recent competition from Philippe Herreweghe. Of the two, Herreweghe's is the more 'traditional' performance, with a polished chorus, fine soloists and brassy trumpets.
Hengelbrock achieves greater intimacy, and he's also more urgent.”

[수록곡]

1-1. Lotti : Missa Sapientiae

1-2. Bach : Magnificat BWV 243a