Antonio Lotti : Credo & Crucifixus
Lotti is most famous for his Crucifixus in 8 parts, although it is not generally known the 'motet' in fact comes from a larger work: the Credo in F for choir and orchestra. This Credo is, in turn, a movement of a complete mass setting.
Lotti also wrote a setting of the Crucifixus for 10 voices, which is from his Credo in D minor; one for 4 voices from his Credo in B flat; one for 6 voices, for which no Credo has been identified; and one for 5 voices, which may be of spurious attribution. All of these works are available from Ancient Groove Music.
Crucifixus 8vv - SSAATTBB with organ
This motet is a section of a Credo in F, for four voices with string and continuo accompaniment, written while Lotti was at Dresden (1717-1719). (The Credo itself is a movement of a complete mass, the Missa Sancti Christophori.) For this section of the Credo, the continuo alone backs the choir; the remaining instruments are tacet, and the choir doubles to 8 parts. The excerpt's modern popularity comes from its publication in an 1860 compilation, Musica sacra, by Franz Commer.
This edition comes from the Sächsische Landesbibliothek, Dresden, Mus 2159 D 5, a manuscript of the complete Credo, thought to be in Lotti's own hand.
The original key signature has only one flat; E and A flats in the score have therefore been subsumed into the key signature. The major editorial task is realising the figured bass and adjusting the figures for the revised key signature. Double barlines, cautionary accidentals, commas and fermata are editorial.
An instrumental bass continuo part is available upon request, and is free with orders of 9 or more copies. The complete Credo in F for choir with strings is also available from Ancient Groove Music. The complete Mass in F is due to be published later in the year.
From British Library Add 14177, a complete Credo in D minor for SATB, strings and continuo. The original has three alto parts: this edition turns the third alto into a first tenor, making the part requirement SSSAATTTBB.
An instrumental bass continuo part is available upon request, and is free with orders of 11 or more copies. The complete Credo in D minor for choir with strings is also available from Ancient Groove Music.
This work, for 6 voices, has not yet been a identified with any surviving complete Credo movement.
The three settings, for 6, 8 and 10 voices, were published separately as motets in the 19th century.
Source: Vienna Cod. 16.187 and various 19th century published editions. Original note values and pitch are preserved.
Source: Westminster Abbey Library, CG23: a loose set of sheets dating from the 18th century. The work is attributed to Lotti in the ms, but his name is followed by the words ‘detto Trento’. There is no other record of Lotti's having this soubriquet, nor did he ever visit the city of Trento. Although it appears to emulate Lotti's style, there are a number of uncharacteristic features, not least of which is the fact that the continuo adds bass notes that are absent from the vocal parts.
Crucifixus 4vv - SATB, 2 violin, viola, continuo
This section of Lotti's Credo in B flat has not previously been separated for use as a motet, perhaps because it requires 2 violins and a viola playing independent lines from the choral parts.
Credo in F (including Crucifixus 8vv) - SATB, 2 violin, 2 viola, bass continuo, keyboard
This edition comes from the Sächsische Landesbibliothek, Dresden, Mus. 2159-D-5, a manuscript of the complete Credo, possibly in Lotti's own hand. The work was written while Lotti was at Dresden (1717-1719). Ancient Groove Music has now discovered that manuscripts exists in which the Credo is part of a complete mass setting in F, the Missa Sancti Christophori, and hopes to publish this soon.
The instruments play throughout the work, except for the Crucifixus, where the choir divides into 8 parts, accompanied only by the continuo. The strings then return in fanfare, to proclaim the Et resurrexit.
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.
Performers will require 2 full scores: one for the conductor and one for the keyboard continuo.
Credo in D minor: (including Crucifixus 10vv) - SSSAATTTBB chorus, 2 violin, 2 viola, bass continuo, keyboard
From British Library Additional 14177, an early 19th century ms in score. The work originally has no key signature. One flat has therefore been added to the key signature in the edition. The continuo part is unnamed and contains no figures, but does have tremolos. As with the Credo in F, the Crucifixus of this work is known separately as a motet for 10 voices, and the strings are tacent for that section.
Performers will require 2 full scores: one for the conductor and one for the keyboard continuo.
Credo in B flat: (including Crucifixus 4vv) - SATB chorus, 2 violin, viola, bass continuo, keyboard
Source: MS 853, Prague Castle Archive, Prague.
Missa Sancti Christophori: SATB divisi chorus, SATB soli, 2 violin, 2 viola, bass continuo, keyboard
Source: MS 858, Prague Castle Archive, Prague. Also Mus. 2159-D-5 of the Credo, from the Dresden Sächsische Landesbibliothek, believed to be in Lotti's hand. A complete mass setting for four voices, strings and continuo, which includes the Credo in F and Crucifixus for 8 voices (see above). The figured bass has been expanded to provide an editorial right hand keyboard part.
Performers will require 2 full scores: one for the conductor and one for the keyboard continuo.
This page © 2009 Ben Byram-Wigfield