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.