This 1994 disc is something of a classic of the new strain of the historical-performance movement, which is characterized by a certain amount of license to speculate in the reconstruction of lost works. The Miserere mei Deus of Gregorio Allegri is, of course, not a lost work, but one with an unbroken performance tradition stretching back to its composition in the early seventeenth century (before 1638). It was sung for centuries at the Sistine Chapel, where the singers were enjoined from circulating the music beyond Vatican walls…
"Christophers draws brilliant performances from his singers, both technically assured and vividly impassioned". (The Guardian)
With The All-Baroque Box we realize one of our fondest dreams: harnessing the deep catalogue of Archiv Produktion (supplemented on occasion by Decca L oiseau lyre recordings) to create a comprehensive collection of great music from Monteverdi to Bach. The music ranges from huge Baroque (Missa Salisburgensis, Venetian polychoral, Charpentier Te Deum) to intimate Baroque (the Goldberg Variations, Bach cello suites, solo cantatas) overwhelming in its impact and emotional content.
"…They have a long and impressive track record, so it's a risky claim to make, but I believe that, on disc, this is the best thing The Tallis Scholars have ever done." ~International Record Review
“Lotti's Requiem Mass in F major is considered by Thomas Hengelbrock the most important Requiem before Mozart's. It's full of expressive contrast: Lotti has an affection for a quasi-Palestrina style on the one hand and the skill to deploy more up-to-date techniques on the other. This Requiem is essentially in the late Baroque idiom, occasionally recalling certain of Vivaldi's larger sacred vocal pieces. The sections differ from the sequence usually encountered in later 18th-century Requiem Masses. There's neither Sanctus, 'Benedictus' nor Agnus Dei, but instead a very extended 'Dies irae' as well as a much shorter 'Requiem aeternam', Kyrie and Offertory. Full of theatrical gestures, supple polyphony, warmly seductive harmony and some beautiful melodies, the Requiem holds attention from start to finish. The contrasts are often striking, as between the hushed opening section and the awesome introduction to the 'Dies irae'. The a cappella Miserere is sung with clarity and finesse. The five-movement Credo is a supple piece for choir and strings with some affecting, shimmering harmonies in the 'Crucifixus'.