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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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 Lotti’s mass settings are exclusively Kyries, Glorias and Credos.

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Credo in Crufifixus minor: 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.

Crucifixus a 8 – Hyperion Records – CDs, MP3 and Lossless downloads

It is hoped logti volume will prove useful to church choirs and concert ensembles alike. Original note values and pitch are preserved, though two flats have cruvifixus added to the key signature. Double barlines, cautionary accidentals, commas and fermata are editorial. This gives way to quaver movement before moving back to the slow sustained harmonies of the opening. This is a rare example, both as an autograph manuscript and as the only known source of this setting. Lotti wrote in a variety of forms, producing massescantatasmadrigalsaround thirty operasand instrumental music.


A computer synthesised audio track of this work. Presso Andrea Santini e Figlio.

Lotti A – Crucifixus | The Choir of St John’s College, Cambridge

Printed copies can also be purchased. 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. Loyti 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 lott editions.

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 to SSATTB for the Crucifixus, which is performed without strings.

Crucifixus a 8 voci (Lotti, Antonio)

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The governing body of the scuola, the Provveditori di Comun, contracted Antonio Lotti in to provide music at the scuola for the annual feast of Pentecost and the two days after for total of at least eight years. The use of two violas is indicative of Venetian practice, rather than that of Dresden. Hyperion offers both CDs, and downloads in a number of formats.

For this section of the Credothe continuo alone backs the choir; the remaining instruments are tacetand the choir doubles to 8 parts. The site is also available in several languages.

In ctucifixus was given leave to go to Dresdenwhere a number of his operas were produced, including Giove in ArgoTeofane and Li quattro elementi all with librettos by Antonio Maria Lucchini. 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: Crucifixus Anthology – Six settings for 4, 5, 6, 8 and 10 voices.


Various 19th century published editions were also consulted. Lotti may even have been born in Hanover; his father had been Kapellmeister there. Lotti worked in Dresden frombut it is likely that the work was written in Venice before this time. The Crucifixus for 8vv is available as a PDF for free download.

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This version is written in 8 parts; the basses begin and the music unfolds organically towards an impressive cadence. Lotti lived and worked in Dresden fromthough lottii work was likely written in Venice before that.

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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. Retrieved from ” https: In this work, the music of the Benedictus and Agnus Dei reprises material from earlier sections of the mass.

As composer he was clearly able to adapt to the stylistic demands placed upon him. Cruccifixus will require 2 full scores: He was indeed crucified for us at the crucifixux of Pontius Pilate.

Click track numbers above to select. Crucifixus etiam pro nobis sub Pontio Pilato. By he had become first organist and in maestro di capella, a position he held until his death.

Don’t show me this message again. He died and was buried. Back to Lotti catalogue. It is not known whether the Sanctus is similarly reprised from some other setting by Lotti, or is by Zelenka. Berlin Staatsbibliothek, a manuscript in score of the complete Credo in G minor.

C maj – Kyrie.