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 work, for 6 voices, is a section from Lotti’s Credo in G minor for double choir, strings and continuo. This is a rare example, both as an autograph manuscript and as the only known source of this setting. As with the other settings, an Adagio for Et crudifixus est and a joyous fanfare for Et resurrexit restore the music of the Crucifixus to its rightful context.
The complete Credo in D minor for choir with strings is also available. After this he remained in Venice. The strings then return in fanfare, to proclaim the Et resurrexit.
Problems playing this file? In he was given leave to go to Dresdenwhere a number of his operas lotit produced, including Giove in ArgoTeofane and Li quattro elementi all with librettos by Antonio Maria Lucchini.
By he had become first organist and in maestro di capella, a position he held until his death. Prague Cathedral Archive, Prague. While Lotti’s other Credo settings feature four-part choirs that expand into larger vocal ensembles for the Crucifixus, this setting goes the other way, starting with two SATB choirs, and then reducing crucifixux SSATTB for the Crucifixus, which is performed without llotti.
The major editorial task is realising the figured bass and adjusting the figures for the revised key signature. His music sounds as if he were writing in the late s when he was, in fact, a contemporary of J S Bach. In other projects Wikimedia Commons.
His more progressive works foreshadow the gallant style, considered a transition between the established Baroque and emerging Classical styles. 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 was indeed crucified for us at the hands of Pontius Pilate.
Here is music for a cappella choir, grouped loosely according to the themes crucifius its texts, drawing together composers as far apart in time and space as eleventh-century France and twentieth-century Russia and America. 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.
Lotti wrote in a variety of forms, producing massescantatasmadrigalsaround thirty operascruckfixus instrumental music.
Lotti A – Crucifixus
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The work is scored for two bass instruments: TenebraeNigel Short conductor.
A complete mass setting crucidixus four voices, strings and continuo, which includes the Credo in F and Crucifixus for 8 voices see above. It is not known whether the Sanctus is similarly reprised from some other setting by Lotti, lottti is by Zelenka.
Antonio Lotti – Wikipedia
crucifuxus This gives way to quaver movement before moving back to the slow sustained harmonies of the opening. Lotti was born in Venicealthough his father Matteo was Kapellmeister at Hanover at the time.
He was granted leave in to go to Dresden to write an opera, completing three in a period of two years.
He died and was buried. An edition of this work is available. Armonico ConsortChristopher Monks conductor. Presso Andrea Santini e Figlio.
Crucifixus a 8 voci (Lotti, Antonio)
Buy copies Back to Lotti catalogue. Credo in D minor: An instrumental bass continuo part is available for purchase upon request.
From the British Library, an early 19th century ms in score.