One might be forgiven, when listening to the church music of Antonio Lotti (c –), for thinking that he was a Venetian composer contemporary with. Lotti A – Crucifixus. Composer: Category: Anthem. Words. Crucifixus etiam pro nobis; sub Pontio Pilato passus et sepultus est. Lotti is most famous for his Crucifixus in 8 parts, although it is not generally known that this ‘motet’ actually comes from a larger work: the Credo in F for choir and.

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This is a rare example, both as an autograph manuscript and as the only known source of this setting. Buy copies Back to Lotti catalogue Credo lottti D minor: The KyrieGloria and Credo are found individually in other manuscripts, ascribed to Lotti, and crucifxius authorship is not in doubt.

Lotti was born in Venicealthough his father Matteo was Kapellmeister at Hanover at litti time. Maestri di cappella at Saint Mark’s Basilica. Organ accompaniment is included, though the works could all be performed unaccompanied.

In other projects Wikimedia Commons. His more progressive works foreshadow the gallant style, considered a transition between the established Baroque and emerging Classical styles. The use of two violas is indicative of Venetian practice, rather than that of Dresden.

A complete mass setting for four voices, strings and continuo, which includes the Credo in F and Crucifixus for 8 voices see above. It is probable that this was done by Jan Dismas Zelenka, who often produced ‘gestrechten’ complete masses from incomplete settings by other composers. Credo in D minor: The site is also available in several languages. Prague Lootti Archive, Prague.

Crucifixus a 8 voci (Lotti, Antonio) – IMSLP/Petrucci Music Library: Free Public Domain Sheet Music

The strings then return in fanfare, to proclaim the Et resurrexit. Problems playing this file? By he had become first organist and in maestro di capella, a position he held until his death.

This version is written in 8 parts; the basses begin and the music unfolds organically towards an impressive cadence. Tavener, Purcell, Barber and Byrd, were 3 composers who wore their hearts on their sleeves, and whose art saw their emotions laid bare, in an atmospheric concert with the Armonico Consort, where magical musical moments are intertwined with sublime He returned to his job at San Marco in Venice in and remained there until his death in Buy copies Back to Lotti catalogue.


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Crucifixus a 8 (Antonio Lotti)

Lktti composer he was crucifixue able to adapt to the stylistic demands placed upon him. Double barlines, cautionary accidentals, commas and fermata are editorial. Lotti’s mass settings are exclusively Kyries, Glorias and Credos. There is one more venue for which Lotti is known to have composed sacred music, namely, the Dresden court of Friedrich Augustus I, Elector of Saxony where Lotti was in residence from to The Cambridge SingersJohn Rutter conductor.

Lotti A – Crucifixus

It ootti not known whether the Sanctus is similarly reprised from some other setting by Lotti, or is by Zelenka. As with the other settings, an Adagio for Et incarnatus est and a joyous fanfare for Et resurrexit restore the music of the Crucifixus to its rightful context.

The original has three alto parts: All the other Crucifixus motets can all be traced to a complete Credowhereas no Credo has been found containing cricifixus piece. Views Read Edit View history. As with the Credo in F, the work is mostly for four-part chorus, which expands for the Crucifixus to ten voices, and the strings are tacent for that section.

Antonio Lotti: Crucifixus & Credo

Click track numbers above to select. This work, for 6 voices, is a section from Lotti’s Credo in G minor for double choir, strings and continuo. Unlike Lotti’s other Credos, this does not require more parts for any sections, though there are solo crucifixuus which could be performed by a semi-chorus. The pungency of the music is obtained through the suspension, dissonance and resolution of the long slow lines. The Crucifixus section is widely known as a motet, separated from its context.


Lotti may even have been born in Hanover; his father lotti been Kapellmeister there. The practice of setting lengthy, musically complex and kotti music for these sections of the mass is typical of Italian church music, leaving the Sanctus, Benedictus and Agnus Dei to be performed as plainsong.

The major editorial tasks are the creation of a part reduction for the vocal score; realising the figured bass; and the transfer of source accidentals in the Crucifixus into the key signature. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. The instruments play throughout the work, except for the Crucifixuswhere the choir divides into 8 parts, accompanied only by the continuo.

After this he remained in Venice. Retrieved from ” https: Berlin Staatsbibliothek, a manuscript in score of the complete Credo in G minor. Credo in B flat No. From Wikipedia, the free encyclopedia.

By using this site, you agree to the Terms of Use and Privacy Policy. This is a large-scale setting of the Credo for double choir with string and continuo accompaniment, which is the source of the six-part Crucifixussometimes performed as a stand-alone motet. Some of his sacred choral works are unaccompanied a cappella but many of them are composed in the concertato style with strings, basso continuo, and occasionally oboes and crucifixs.

Printed copies can also be purchased. The complete Credo in Crufifixus for choir with strings, and the complete mass Missa Sancti Christophori are also now available. Buy copies Back to Lotti catalogue Credo in G minor: Lotti also wrote a setting of the Crucifixus for 10 voiceswhich is from his Credo in D minor ; one for 6 voices which is from his Credo in G minor for double choir; two for 4 voices from his two Credo in B flat settings; and one for 5 voices.

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