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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Lotti A – Crucifixus
This page was last edited on 24 Novemberat Buy copies Back to Lotti catalogue Credo in D minor: Hyperion offers both CDs, and downloads in a number of formats. As composer he was clearly able to adapt to the stylistic demands placed upon him.
From Wikipedia, the free encyclopedia. The Cambridge SingersJohn Rutter conductor. 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 Crucifixus section is widely known as a motet, separated from its context.
Organ accompaniment is included, though the works could all be performed unaccompanied.
Lotti wrote in a variety of forms, producing massescantatasmadrigalsaround thirty operasand instrumental music. The complete Credo in F for choir with strings, and the complete mass Missa Sancti Christophori are also now available. It is hoped this volume will prove lothi to church choirs and concert ensembles alike. Introduction English One might be forgiven, when listening to the church music of Antonio Lotti c—for thinking that he was a Venetian composer contemporary with Palestrina in the High Renaissance.
Lotti A – Crucifixus | The Choir of St John’s College, Cambridge
The site is also available in several languages. For the first time, Lotti’s more familiar settings of Crucifixus for 6, 8 and 10 voices have been collated together with his much less well-known settings: Lotti also composed twenty-eight stage works. An instrumental bass continuo part is available upon request, and is free with orders of 11 or more copies. The figured bass has been expanded to provide an editorial right hand keyboard part.
Antonio Lotti – Wikipedia
Crucifixus etiam pro nobis sub Pontio Pilato. For this section of the Credothe continuo alone backs the choir; the remaining instruments are tacetand the choir doubles to 8 parts. 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: 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 crucifxus Armonico Consort, where magical musical moments are intertwined with sublime The strings then return in fanfare, to proclaim the Et resurrexit.
The use of two violas is indicative of Venetian practice, rather than that of Dresden.
He wrote in the Baroque idiom of the late seventeenth century, adjusting his style to the new, leaner harmony crucjfixus the approaching Classical era. This manuscript has only recently been identified as an autograph. Original note values and pitch are preserved, though two flats have been added to the key signature.
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. Crucifixus Anthology – Six settings for 4, 5, 6, 8 and 10 voices. Lotti also wrote a setting of the Crucifixus for 10 voiceswhich is from his Credo in D minor ; one for 6 voices which is crucfixus 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.
Lotti was born in Venicealthough his father Matteo was Kapellmeister lottj Hanover at the time. Double barlines, cautionary accidentals, commas and fermata are editorial. Update Required To play the media you will need to either update your browser to a recent version or update your Lothi plugin. 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.
Lotti wrote many versions of the Crucifixusfor 4- 5- 6- 7- 8- 9- and part choirs. The KyrieGloria and Credo are found individually in other manuscripts, ascribed to Lotti, and their authorship is not in doubt.
His more progressive works foreshadow the gallant style, considered a transition between the established Baroque and emerging Classical styles. Retrieved from ” https: The original key signature has only one flat; E and A flats in the score have therefore been subsumed into the key signature to retain a familiarity with previous editions.
Parts have been editorially created to allow a variety of bass instruments crucifixue perform the work: Armonico ConsortChristopher Monks conductor.
He returned to his job at San Marco in Venice in and remained there until his death in Passus et sepultus est.
These works spanning the centuries are chosen from the heart of Tenebrae’s concert repertoire. The governing body of the scuola, the Provveditori di Comun, contracted Antonio Lotti in cducifixus provide music at the scuola for the annual feast of Pentecost and the two days after for total of at least eight years.
While in Venice, the king had engaged Lotti specifically to compose for the Italian opera troupe that he had assembled.
By he had become first organist and in maestro di capella, a position he held until his death. Back to Lotti catalogue. 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 trumpets.
Credo in G minor: It is probable that this was done by Jan Dismas Zelenka, who often produced ‘gestrechten’ complete masses from cruucifixus settings by other composers.
Lotti may even have been born in Hanover; his father had been Kapellmeister there.