Antonio Lotti : Credo & Crucifixus
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 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 6 voices which is from his Credo in G minor for double choir; one for 4 voices from his Credo in B flat; and one for 5 voices, which may be of spurious attribution, as no Credo has been found that contains it, and stylistically it is slightly unusual. 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, found in a manuscript in Dresden. Lotti lived and worked in Dresden from 1717-1719, though the work was likely written in Venice before that. 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, a manuscript of the complete Credo, thought to be in Lotti's own hand. (The Credo itself is a movement of a complete mass found in Prague, the Missa Sancti Christophori.)
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. 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.
The Crucifixus for 8vv is available as a PDF for free download. Printed copies can also be purchased. An instrumental bass continuo part is available for purchase upon request. The complete Credo in F for choir with strings, and the complete mass (Missa Sancti Christophori) are also now available.
From the British Library, 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 more comfortable 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.
This work, for 6 voices, is a section from Lotti's Credo in G minor for double choir, strings and continuo.
Source: Berlin Staatsbibliothek, a manuscript in score of the complete Credo in Gm. Various 19th century published editions were also consulted. Original note values and pitch are preserved, though two flats have been added to the key signature.
Source: Westminster Abbey Library: 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.
All the other Crucifixus motets can all be traced to a complete Credo, whereas no Credo has been found containing this piece.
Crucifixus 4vv - SATB, 2 violin, viola, continuo
This section of Lotti's Credo in B flat has not 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, a manuscript of the complete Credo, thought to be in Lotti's own hand. Lotti worked in Dresden from 1717-1719, but it is likely that the work was written in Venice before this time. The use of two violas is indicative of Venetian practice, rather than that of Dresden. Ancient Groove Music has also discovered manuscripts in which the Credo is part of a complete mass setting in F, the Missa Sancti Christophori, also available.
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.
Performance time: 12 minutes.
This piece can be heard on a recording by Thomas Hengelbrock and the Balthus-Neumann Ensemble "Requiem".
Credo in D minor: (including Crucifixus 10vv) - SSSAATTTBB chorus, 2 violin, 2 viola, bass continuo, keyboard
From the British Library, an early 19th century ms in score. 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.
Performance time: 12 minutes.
Credo in B flat: (including Crucifixus 4vv) - SATB chorus, 2 violin, viola, bass continuo, keyboard
Source: Prague Castle Archive.
Complete Credo for 4 voices throughout. Unlike Lotti's other Credos, this does not require more parts for any sections, though there are solo instructions (which could be performed by a semi-chorus).
Performance time: 12 minutes.
Credo in G minor: (including Crucifixus 6vv) - SATB double chorus, 2 violin, 2 viola, bass continuo, keyboard
Source: Berlin State Library.
Mass section for double choir and string accompaniment, which also contains the 6-part Crucifixus, sometimes performed as a stand-alone motet.
Performance time: 15 minutes.
Missa Sancti Christophori: SATB divisi chorus, SATB soli, 2 violin, 2 viola, bass continuo, keyboard
Source: Prague Cathedral Archive, Prague. Also ms 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.
Lotti's mass settings are exclusively Kyries, Glorias and Credos. The practice of setting lengthy, musically complex and ostentatious 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.
In this work, the music of the Benedictus and Agnus Dei reprises material from earlier sections of the mass. It is probable that this was done by Jan Dismas Zelenka, who often produced 'gestrechten' complete masses from incomplete settings by other composers. It is not known whether the Sanctus is similarly reprised from some other setting by Lotti, or is by Zelenka. The Kyrie and Gloria are found individually in other manuscripts, ascribed to Lotti, and their authorship is not in doubt.
Performers will require 2 full scores: one for the conductor and one for the keyboard continuo.
Performance time: 30 minutes.
This page © 2011 Ben Byram-Wigfield