Antonio Lotti : Edition Notes
Works for Choir (and Organ)
Crucifixus 8vv - SSAATTBB with organ
This motet is a section of a complete 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 in F.) 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, possibly 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 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.
Lotti's most famous setting of this text, for 8-parts, is a movement taken from his Credo in F. His 10-part setting of the same text also comes from another Credo, in D minor. This work, for 6 voices, has not yet been a identified with any surviving complete Credo movement, and may possibly be spurious. (A setting for 5 voices, attributed to Lotti, also exists, but that work seems even more unlikely to be by Lotti, as there are several 'idiomatic inconsistencies'.)
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.
Missa del quinto tuono (quattuor vocum inaequalis) - SATB
Sources: London, British Library Egerton 2462; Venice, Procuratoria di San Marco, B1180/1-69; Biblioteca Nazionale Marciana, Cod It. IV 1738
Note values have been halved (except for the Benedictus, which is quartered) and the music maintained at original pitch. The mass is also known by the title Missa quattuor vocum inaequalis. (One of the problems with cataloguing Lotti's works is that the masses are rarely given descriptive or distinctive titles.) Cautionary and bracketed accidentals are editorial.
The mass is thought to have been written in 1700. The work exists in several sources, some of which are unaccompanied, and some of which contain an organ part. The Biblioteca Nazionale Marciana also holds a set of two cornet parts.
None of Lotti's mass settings contains the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Missa del settimo tuono - SATB, org.
Lotti's masses are rarely given uniquely descriptive names in the sources, often being described as "Mass for four voices", or "Missa Brevis". This work has recently been recorded as "del sesto tuono" (in the sixth tone), though few sources describe it as such. However, there are other masses by Lotti that have also been given this name, and on examination, the music of this mass actually appear to be based on the seventh tone. (G major with a flattened 7th.)
Note values have been halved and the music maintained at original pitch. Cautionary and bracketed accidentals are editorial.
Few of Lotti's mass settings contain the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Source: Venice, Procuratoria di San Marco, B.771/1-21, a set of part books dating from the 1730s. Note values have been halved (except for the Benedictus, which is quartered) and the music maintained at original pitch. Cautionary and bracketed accidentals are editorial. The music is thought to have been written in 1685, dated from a remark in a manuscript in the Santini collection.
Few of Lotti's mass settings contain the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Source: Westminster Abbey, CG23, an 18th century manuscript in score. This is one of a number of masses by Lotti which is described in various sources as del sesto tuono (in the sixth tone). It has also been recently described as Missa Brevis in F, even though it is the longest of Lotti's masses for choir and organ. There is also another mass which fits that description more closely. In order to identify each different mass more accurately, this mass has been called Messa da Cappella in F. The name Messa dal sesto tuono has been reserved for another mass: the only mass of that name to be found in Venetian sources contemporary with Lotti.
Note values have been halved (except for triple-time sections, which have been quartered) and ths music has been transposed down a tone to avoid the relatively high compass of the tenor and bass parts. Cautionary and bracketed accidentals are editorial.
Few, if any, of Lotti's mass settings contains the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
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Messa da Cappella in A - SATB, org.
Source: Venice, Procuratoria di San Marco, B781/1-33; Bibloteca Nazionale Marciana, Cod. It. IV 1739 (10). Note values have been halved (except for the Benedictus, where they have been quartered) and the music maintained at original pitch. Cautionary and bracketed accidentals are editorial. The organ part is a part reduction and is optional.
Few of Lotti's mass settings contain the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Source: Venice, Biblioteca Nazionale Marciana, Cod. It. IV 1738-1739. A note in the score indicates that other copies are to be found transposed down to both B flat and A. The work is known as the Studentenmesse in the Viennese library of Archduke Rudolf von Habsburg-Lothringen (1788 - 1831), who was the great-grandson of Lotti's patron in Dresden. Two string parts are also to be found in a number of sources, though not in the Venetian archives. The work is also often presented transposed up a fourth in F, for SAT. Given the work's title, it is conceiveable that work was performed by the girls of the Ospedale degli Incurabili.
Note values have been halved (or quartered for triple-time sections) and the music presented at pitch. Cautionary and bracketed accidentals are editorial.
Messa di Requiem- SATB, org. (Messa pro defunctis)
Source: Venice, Procuratoria di San Marco, B 774/1-16. Note values have been halved and the music presented at pitch. Cautionary and bracketed accidentals are editorial. This edition also includes the Libera me, which exists in a single, separate autograph source. The figured bass part has been expanded to provide an organ continuo.
This work, for SATB with organ, is not to be confused with Lotti's large scale "concert" Requiem, for SSATB with strings, woodwind and trumpet, though Lotti does share some themes, subjects and music ideas between them.
A recording of the Messa di Requiem is available on CD here.
Messa del sesto tuono - SATB, org
Source: Venice, Procuratoria di San Marco, B769/1-15: A set of 18th century part books. Note values have been halved, except for triple time sections, which are quartered. Editorial accidentals are bracketed.
This is one of a number of different masses by Lotti that are given the name Messa del sesto tuono in various manuscript sources. Whilst there is no reason to doubt their attribution to Lotti, these masses are not given this name in Venetian sources, if they appear in Venice at all. Some of these other masses are clearly not composed in the sixth tone. Different names have therefore been assigned to the other masses, and the name del sesto tuono reserved only for this mass.
None of Lotti's mass settings contains the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Source: London, British Library Hirsch M 454; Denkmäler Deutsche Tonkunst Vol. 60. Note values have been halved and the music transposed down a tone, in order to fall into a more comfortable range for all the parts. Cautionary and editorial accidentals are in brackets.
None of Lotti's mass settings contains the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Missa Quadragesimalis - SATB, org
Source: a set of manuscript parts for SATB and organ, c.1800, in the private collection of Walter B. Hewlett, held at the Center for Computer Assisted Research in the Humanities, California. The first page of the Alto part is missing, with the extant section starting at bar 73 of the Gloria. Bars 141 to 148 in the Tenor part of the Credo are written out incorrectly, repeating previous bars and becoming out of step with the other parts. These sections have been supplied editorially. There is no Benedictus.
The music has been presented at pitch and the note values halved. Barlines have been standardised as they are not consistent across all the parts. Editorial accidentals are in brackets. The keyboard part has been expanded from the original figured bass part. The original bass notes and figures are preserved.
The entire mass is a canon in four parts, with the Tenor starting on a G, followed by the Soprano a bar later, up an octave. The Bass follows on a C, one bar later, and the Alto completes the canon, one octave up from the Bass. This property of the work makes providing the missing sections simple, as well as assisting with the checking of any suspected errors in the manuscript copy.
The word “Quadragesimalis” refers to the forty days of Lent.
Grateful acknowledgement and thanks are made to Professor Eleanor Selfridge-Field and the Center for Computer
Assisted Research in the Humanities at Stanford University, California.
None of Lotti's mass settings contains the words dona nobis pacem in the Agnus Dei. If required, the music may be sung a second time (or even a third) and the final words substituted in the place of miserere nobis.
Ad Dominum cum tribularer (Vulgate Psalm 119) - SATB, org
Source: Venice, Procuratoria di San Marco, B 774/1-16; British Library Additional 14177.
Note values have been halved and the music presented at original pitch. The work appears in several Venetian sources together with Lotti's Requiem mass for four voices.
Source: Venice, Biblioteca Nazionale Marciana, Cod. It. IV 1738. An 18th century mss in Lotti's hand. Note values have been halved. Slurs and bracketed accidentals are editorial. This is a complete setting of Vulgate Psalm 111.
Benedictus Dominus Deus No. 1 in C - SATB
Source: Venice, Biblioteca Nazionale Marciana, Cod. It. IV 1738. An autograph mss. in score. It is thought that the work was originally composed in 1706, paired with a Miserere in Dm. Lotti wrote another set of both works in 1733. Note values have been halved, except for triple time sections, which are quartered. Editorial and cautionary accidentals are in brackets.
Benedictus Dominus Deus No 2 in F - SATB
Source: Venice, Procuratoria di San Marco, B768/1-13, an 18th century set of part books dated 1733.
Note values have been halved and the music presented at original pitch.
It is thought that Lotti wrote this work, together with the Miserere in Gm, to show his abilities in competition for the post of maestro di cappella of San Marco. Lotti also wrote a paired Miserere in Dm and Benedictus in C in 1706.
Magnus Dominus (Vulgate Psalm 47) - SATB
Sources: Venice: I-Vlevi CF. B. 120, a late 18th century score in manuscript; I-Vnm Cod. It. IV 1739: an early 19th century score in manuscript. Note values have been halved, except for triple time sections, which have been quartered.
The text comprises the first and last verses of Vulgate Psalm 47.
Great is the Lord, and highly to be praised in the city of our God, even upon his holy hill. For this God is our God for ever and ever; he shall rule over us for ever.
Miserere mei, Deus No. 1 in Dm - SATB, org
A setting of the entire psalm (Vulgate 50). Sources: Venice, Procuratoria di San Marco, B766, a score dating from 1733. Note values have been halved and the music presented at pitch. Editorial and cautionary accidentals are in brackets. Double barlines, dividing the work into sections, are editorial. The work is thought to have been composed in 1706, together with the Benedictus Dominus Deus in C.
Miserere mei, Deus No. 2 in Gm - SATB, org
A setting of the entire psalm (Vulgate 50). Source: Venice, Procuratoria di San Marco, B768/1-13: a set of part books dated 1733. Note values have been
halved. Accidentals in brackets are editorial.
The books also include a Benedictus Dominus Deus in F, and both works are thought to be written together as a showcase for Lotti's skills in the competition for the post of maestro di cappella. Lotti also wrote a paired Miserere in Dm and a Benedictus in C in 1706.
Source: Bergamo Istituto Musicale Donizetti, XXVI c. 95893; also various 19th century published editions. Note values have been halved and the music presented at pitch. Editorial and cautionary accidentals are in brackets.
Magnificat a quinti toni - SATB
Source: Westminster Abbey Library, CG23, an 18th century manuscript in score. Note values have been halved and the music presented at original pitch. The plainsong is not present in the source; and is taken from the liber usualis.
Magnificat a primo toni - SATBB
Source: Westminster Abbey Library, CG23, an 18th century manuscript in score. Note values have been halved and the music presented at original pitch. The plainsong is not present in the source; and is taken from the liber usualis.
Magnificat a secondi toni - SATB
Source: Westminster Abbey Library, CG23, an 18th century manuscript in score. Note values have been halved and the music presented at original pitch. The plainsong is not present in the source; and is taken from the liber usualis.
Source: Venice, Procuratoria di San Marco, B775/1-6, a set of 18th century part books. Note values have
been halved. Accidentals in brackets are editorial.
These two Marian motets are found in the same manuscript, and so are offered together in one publication. The texts would appear to be contracted forms of well known liturgical Marian texts.
Beata es, Virgo Maria, quae credidisti quia perfecta sunt ea, quae dicta sunt tibi a Domino. Alleluia.
Gaude Virgo Maria, quae Gabrielis archangeli dictis credidisti: dum Virgo Deum et hominem genuisti, et post partum Virgo inviolata permansisti. Alleluia.
Source: Venice, Procuratoria di San Marco, B776/1-19: a set of 18th century part-books. Note values have been halved. Bracketed accidentals are editorial.
Salve Regina, Mater misericordiae, vita dulcedo et spes nostra salve. Ad te clamamus exsules filii Hevae. Ad te suspiramus gementes et flentes, in hac lacrimarum valle. Eia ergo advocata nostra, illos tuos misericordes oculos ad nos converte. Et Jesum benedictum fructum ventris tui nobis post hoc exsilium ostende. O clemens, o pia, o dulcis Virgo Maria.
Hail holy queen, mother of mercy, hail our life, our sweetness and our hope. To you do we cry, poor banished children of Eve. To you do we send up our sighs, mourning and weeping in this valley of tears. Turn then, most gracious advocate, your eyes of mercy toward us. And after this, our exile, show us the fruit of your womb, Jesus. O clement, O loving, O sweet Virgin Mary.
Choir with instruments
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 a manuscript exists in which the Credo is part of a complete mass setting in F, 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.
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.
In omni tribulatione nostra - SSATB, 2 vln, vlc, 2 ob, fag, bass continuo, keyboard
Source: Copenhagen, Kongelige Bibliotek (DK-Kk): mu9412.1282. A manuscript in score, c. 1800. A short work of 79 bars, featuring a brief adagio, followed by a fugue.
In omni tribulatione nostra, duc nos in viam pacis o rex israel nocte rogamus.
In all our tribulation, lead us in the way of peace, O King of Israel, we pray day and night.
It is not clear for what purpose the music was written. The source of the text is unknown, and not part of any standard liturgy, though is clearly a religious cry of distress. Assuming that the call to “lead us in the way of peace” indicates wartime, then the music may have been composed during one of wars at that time. Contenders included the War of Spanish Succession (1701 - 1714), or perhaps more likely, the 8th Ottoman-Venetian War (1714-1718). In this conflict, the Ottoman Empire took back much of the territory previously captured by Venice, including the Peloponnese and Crete. By 1715, the Ottomans were advancing on Venetian possessions in Dalmatia with an army of 40,000 men. The very real threat to Venice was only alleviated by the entry of Austria into the war on 13 April 1716.
Lotti left Venice for Dresden in 1717, and did not return until 1719, when the war was over. Whether the war was a factor in his decision both to leave Venice and to return, is of course conjecture. However, the music does not appear in any Italian sources; and is only found in libraries in Belgium, Germany, Austria and Denmark, which makes it more likely to have been written during his stay in Dresden. So perhaps the music may have been written for some other unknown occasion of heightened peril, or even for a dramatic tableau.
Laudate pueri (Vulgate Psalm 112) - SATB with Soprano solo, 2 vln, 1 or 2 vla, bass continuo, keyboard.
Source: Copenhagen, Kongelige Bibliotek (Dk-Kk) mu6510.1134, a manuscript in score dated 1780-90.
Tempi indications in brackets, and accidentals above the score and those in brackets are editorial. The keyboard continuo right hand is editorial, and there are no figures in the ms. The music in the Gloria Patri does contain some errors. It is uncertain where the repeats should lie, and some string parts are clearly wrong. In bars 215-218, the original string parts are a repeat of the previous 4 bars, which does not fit musically. A handful of bars contain a 2nd viola part. It is not certain whether this is original, and in most cases the harmony is provided by the continuo right hand, so the work may be played satisfactorily with 1 viola.
This work is one of Lotti's many "vesper psalm" settings, and one of 3 settings of this text. (The other settings are for SSA, strings and continuo, and TB with organ.) It also contains an opening chorus that has ‘echoes’ of Handel's Halleluia chorus. Handel was an admirer of Lotti's music, and manuscripts exists in Handel's hand of “jottings” of Lotti's music. Lotti died before Handel's Messiah was ever performed.
Magnificat - SATB, 2 vln, 2 vla, bass continuo, keyboard.
Source: Three 18th century mss: Copenhagen, Kongelige Bibliotek (DK-Kk) mu6510.1133, mu9402.2482, mu9402.2483: mss of instrumental parts, vocal score with continuo, and full score, c. 1790-1800.
The work is only found in a set of three manuscripts in the Kongelige Bibliotek in Copenhagen. Tempi indications are from the vocal score and are added in pencil. Some tutti/soli markings are also in pencil. Editorial metronomic suggestions for the tempi are shown in square brackets. Though soli are indicated for all voices, these sections could be performed by a semi-chorus. Soprano and Alto soloists would make the most of Quia fecit; and Deposuit could be performed by an ATB trio.
Mass for four voices: (Kyrie in Gm & Gloria in F) SATB chorus, 2 violin, viola, cello, bass continuo, keyboard
Source: British Library Additional 24297. The Kyrie is identical to that found in the Missa Sapientiae, which was re-orchestrated by Zelenka. The pairing of this Kyrie and Gloria may well be the original, as both are scored for the same musical forces (also the same as the Credo in F, which may have been performed with these mass movements).
There are only two sections, Kyrie and Gloria. Although the Dresden Hofkapelle was Catholic (as was the ruler, Augustus), the court and people of Saxony were mostly Lutheran. This curious mix may explain why there are no known concert settings of the Sanctus, Benedictus or Agnus by Lotti.
Requiem Mass SSATB chorus, SSAATTTBBB soli, 2 violin, 2 viola, 2 oboe, bassoon, trumpet in C, bass and keyboard continuo.
Lotti’s Requiem is found in a few manuscripts in the Dresden Sächsische Landesbibliothek (SLUB D-Dlb) Mus.2159-D-7, 7a, 7b & 7c. Antonio Lotti stayed in Dresden from 1717 to 1719, primarily to write opera for the court of the Saxon Elector Friederich Augustus I. Other sources are in Vienna, Bergamo, Munich, and Warsaw.
The work requires an SSATB chorus, with soli for SSAATTTBBB. Originally, the soloists would have all been drawn from the ranks of the chorus, and the work would therefore be best performed by an ensemble whose members can perform the solos, some of which reasonably demanding.
However, some of the movements are an ‘aria’ style, and so if professional soloists, separate from the choir, are to be used, then five soloists (SSATB) would be required. There are solos for the sopranos and alto, as well as duets for alto and tenor, and trios of SAB. The second soprano would be well-suited to the mezzo-soprano aria Qui Mariam, and possibly Mors stupebat. The quintet can then also perform the solo sections in the Kyrie and Dies Irae. Tenors and basses from the chorus can accommodate the requirements of the Rex tremendae and Oro supplex. This only leaves a second alto to be found for Quid sum miser, which could conceivably be sung by the tenor soloist.
Instrumentally, the requirements are 2 violins, 2 violas, 2 oboes, bassoon, trumpet, and continuo section (cello and organ). The oboes double the violin parts for much of the work, the bassoon similarly doubles the continuo line. The violin in Qui Mariam is marked as solo, as is the oboe at the start of Quid sum miser.
Metronome marks in brackets are all editorial. Tempi indications, (e.g. Allegro) are all from the manuscript. Most dynamics are from the score, but some have been added to clarify existing dynamics. Obvious mistakes in the score have been amended without comment. Editorial accidentals have been added in parentheses. The continuo part is almost entirely unfigured and has been expanded editorially to create the keyboard continuo part in the full score.
Missa Sapientiae (Kyrie & Gloria) SATB divisi, SATBB soli, 2 oboe, trumpet, flute, bassoon, 2 violin, 2 viola, bass continuo, organ
The work was given this title by Jan Dismas Zelenka (1679 - 1745), who took Lotti's original music for choir, 2 violins, 2 violas, oboe and continuo section, and 'strengthened' the instrumentation with woodwind and trumpets. There are only two sections, Kyrie and Gloria.
The work has one major Soprano solo and an ATB trio; though other parts are marked as soli within choruses, and could be performed by a semi-chorus or individuals from the chorus.
It would be easy to reduce the forces back to Lotti's original intentions. For much of the work, the oboes double the strings. In the Laudamus te, the 2 oboes and bassoon appear as an antiphonal effect between the woodwind and the strings: originally, it was just strings. The flute is only needed in one movement, Domine Deus Rex coelestis, and was originally a violin solo (the movement is for soprano solo with oboe, flute and continuo.)
Lotti's original Kyrie is to be found in British Library Add 24297, paired with a different Gloria in F for choir and strings.
The Missa Sapientiae has been erroneously attributed to Handel (HWV 244 & 245), because a manuscript exists in his hand, which is a sketch or outline of some of the movements of Lotti’s work. Handel was prone to studying other composers music for ideas in this way. As a result of an overcorrection of the misattribution, a Gloria for Soprano solo, 2 violins and continuo, written by Handel, is occasionally claimed to be Lotti.
Dixit Dominus (Vulgate Psalm 109)
Confitebor tibi (Vulgate Psalm 110) - SATB, 2 violin, viola, cello, oboe, continuo
Sources: British Library Additional 39817; SLUB Dresden Mus 2159-D-11; Westminster Abbey Library CG67
Credidi (Vulgate Psalm 115)
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