| Antonio Lotti: Editorial Notes
Works for Choir (and Organ)
1. Christe Redemptor omnium 2. Crudelis Herodes 3. Ecce panis angelorum 4. Jesu dulcis memoria 5. Pange lingua gloriosum 6. Surrexit Christus hodie 7. Vexilla regis
Lotti wrote seven hymn settings, and these short works are the most functional of Lotti’s liturgical compositions. Three of the hymns —Ecce panis angelorum, Pange lingua and Vexilla regis proderunt— are metrical, entirely homophonic settings, designed for each (or any) verse to be sung to the same music. Two (Christe Redemptor omnia and Jesu dulcis memoriam) are polyphonic settings of alternate verses, intended to take turns with plainchant. The remaining hymn, Crudelis Herodes, is a short polyphonic setting of the hymn’s first verse, and it is unclear whether the remaining verses were expected to be sung to the composed music or the plainchant.
Ave regina caelorum No. 1; Ave regina caelorum No. 2; Beata es, Virgo Maria;Gaude, Maria Virgo; Regina caeli; Salve regina.
This compilation represents all of Lotti’s settings of Marian texts
for four voices. He also wrote three settings of Salve regina
for Tenor and Bass, and one Regina caeli for soprano with
string accompaniment. Some sources attribute a setting of Alma
redemptoris mater for double choir to Lotti, though it is
stylistically not in keeping with his compositional idiom.
All but one of the works here (Ave regina caelorum No. 2)
are known to have been performed at San Marco in Venice.
Missa del quinto tuono (quattuor vocum inaequalis) - SATB, (org)
Sources: London, British Library; Venice, Procuratoria di San Marco;
Biblioteca Nazionale Marciana.
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 ottavo 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. According to the scheme of 'ecclesiastical keys' set out by Adriano Banchieri in his Cartella musicale, published in Venice in 1613/14, this mass corresponds to the eighth tone (D to D, no key signature).
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.
Messa primo tuono - SATB, (org).
Source: Venice, Procuratoria di San Marco, 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.
Messa del sesto tuono No. 2 - SATB, (org). ("Messa da cappella in F.")
Source: Westminster Abbey, an 18th-century Venetian 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 or Messa da Cappella in F, even though it is the longest of Lotti's masses for choir and organ. In order to identify each different mass more accurately, this mass has been called Messa del sesto tuono No. 2. The numeric system of tones for polyphonic composition in Venice is based on the scheme of 'ecclesiastical keys' set out by Adriano Banchieri in his Cartella musicale, published in Venice in 1613/14.
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.
Messa in Alamire - SATB, (org).
Source: Venice, Procuratoria di San Marco; Bibloteca Nazionale Marciana. 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. A note in the score indicates that other copies are to be found transposed down to both B flat and A. Two violin parts are also to be found in an autograph manuscript held in Vienna, though these are not in the Venetian archives. It is possible that the work was written for Vienna, and then used without the string accompaniment in Venice.
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). (Missa pro defunctis)
Source: Venice, Procuratoria di San Marco. 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 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 No. 1 - SATB, (org).
Source: Venice, Procuratoria di San Marco: 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 18th-century Venetian manuscript sources. They are both given other names in secondary source material, and other masses by Lotti are also found described as 'del sesto tuono' when they are not.
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.
Messa del sesto tuono No. 2 - SATB, (org).
Source: London, British Library; 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 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.
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. Because the mass is a canon, supplying missing portions and correcting errors can be done with a reasonable degree of confidence. 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 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.
Ave regina caelorum- Marian antiphon for SATB
Source: Venice, Procuratoria di San Marco.
Note values have been halved, except for triple-time sections which
are quartered. The music is presented at original pitch.
Ad Dominum cum tribularer (Vulgate Psalm 119) - SATB, org
Source: Venice, Procuratoria di San Marco; British Library.
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. An 18th-century manuscript. 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, (org)
Source: Venice, Biblioteca Nazionale Marciana. An 18th-century manuscript of partbooks and score. It is thought that the work was composed in 1733, paired with a Miserere in D minor. Lotti wrote another set of both works. 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, (org)
Source: Venice, Procuratoria di San Marco, an 18th-century set of
part books dated 1733.
Note values have been halved and the music presented at original
pitch.
This work often appears in manuscript sources paired with the Miserere in G minor. Lotti also wrote a paired Miserere in Dm and Benedictus in C in 1733.
Christe Redemptor omnium - SATB, (org)
Interesting falsobordone setting of this hymn, in which the odd verses are set to the plainsong tune and the even verses composed as polyphony.
Sources: Vienna, Gesellschaft der Musikfreunde in Wien: an autograph in score; Venice, Archivio di San Marco: a set of late 18th-century part books. Note values have been halved, except for the triple time sections which have been quartered. The plainsong verses are absent from the source, and are taken from the Liber usualis.
Laudate Dominum in caelis (Vulgate Psalm 148) - SATB
Sources: Naples: an autograph manuscript in score dated 1737. Note values have been halved, except for triple time sections, which have been quartered.
Laudate Dominum in sanctis eius (Vulgate Psalm 150) - SATB
Sources: Naples: an autograph manuscript in score dated 1737. Note values have been halved, except for triple time sections, which have been quartered.
Magnus Dominus (Vulgate Psalm 47) - SATB, (org)
Sources: Venice: a late 18th-century score in manuscript; 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 in D minor - SATB, (org)
A setting of the entire psalm (Vulgate 50). Sources: Venice, Procuratoria di San Marco, 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 1733, together with the Benedictus Dominus Deus in C.
This piece can be heard on the recording by Thomas Hengelbrock and the Balthus-Neumann Ensemble "Requiem".
Miserere mei, Deus in G minor - SATB, (org)
A setting of the entire psalm (Vulgate 50). Source: Venice,
Procuratoria di San Marco: a set of part books dated 1733. Note values
have been halved. Accidentals in brackets are editorial.
The part books also include a Benedictus Dominus Deus in F.
Lotti also wrote a paired Miserere in D minor and a Benedictus
in C in the same year.
Source: Bergamo; also various 19th century published editions. Note values have been halved and the music presented at pitch. Editorial and cautionary accidentals are in brackets.
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Magnificat a quinti toni - SATB
Source: Westminster Abbey Library, an 18th century Venetian 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 primi toni - SATBB
Source: Westminster Abbey Library, an 18th-century Venetian 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, an 18th-century Venetian 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.
Beata es / Gaude Maria - SATB, (org)
Source: Venice, Procuratoria di San Marco, 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: 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
Confitebor tibi Domine No.1 in A minor:
SATB, SA soli, 2 violin, 2 viola, 2 oboe, bassoon, basso continuo,
keyboard.
From 18th-century part books in Dresden for soprano, alto, soprano ripieno, alto ripieno, tenor (2 sets), bass (2 sets), violin 1 (2 sets), violin 2 (2 sets), viola, violetta (2 sets), violoncello, violone, theorbo, organ, oboe 1, oboe 2, bassoon. Written in two different hands.
The work is for SATB chorus and requires soprano and alto soloists for some technically demanding arias.
A computer synthesised audio track of this work.
Credidi (Vulgate Psalm 115) - SATB, org, (optional 2 violin [+/- oboes], viola, bass continuo)
Source: Sächsische Landesbibliothek, Dresden. An 18th-century manuscript score and collection of parts for canto, alto, tenor, bass, 2 violins, tenor violetta, 2 oboes (doubling the violins), and bass continuo parts for violoncello, basso, organ, theorbo and bassoon. There is also an additional set of choral parts, marked ‘ripieno’, though they are identical to the other vocal set.
The score is only for choir and organ, suggesting that Lotti originally wrote the work for four voices and organ, without the additional instruments. The strings double the voices, providing no unique notes to the harmony. The soprano is 'un-doubled' when singing the plainsong cantus firmus. The work can therefore be performed easily and satisfactorily with or without stringed instruments – even unaccompanied.
126 ff: The text source gives “O Domine, quia ego servus suus: ego servus suus et filius ancillae suae”, but the Vulgate text has “tuus ... tuae” instead. The Vulgate text has been supplied in this edition.
Parts are supplied for 2 violins, viola and bass continuo. Oboes double the violin parts. Extra parts can be ordered according to requirements (see the last item in the catalogue, or click here to add extra parts.)
This piece can be heard on a recording of Vesper Psalms by Lotti, performed by the Sächsisches Vokalensemble and Batzdorfer Hofkapelle, conducted by Matthias Jung.
Approximate performance time: 11 minutes.
A computer synthesised audio track of this work.
Credo in F (including Crucifixus 8vv): SATB, 2 violin, 2 viola, bass and keyboard continuo
This edition comes from the Sächsische Landesbibliothek, Dresden, a manuscript of the complete Credo, on Venetian paper in an Italian hand. Lotti lived and worked in Dresden from 1717-1719, though the work was likely written in Venice before that. Ancient Groove Music has now discovered a manuscript in which the Credo is part of a complete mass setting - the Missa Sancti Christophori.
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.
Performance time: 12 minutes.
YouTube video of
Daejeon Philharmonic Choir with Camerata Antiqua Seoul conducted by
Winfried Toll.
Credo in D minor (including Crucifixus
10vv):
SSSAATTTBB chorus, 2 violin, 2 viola, bass and keyboard continuo
From British Library, an early 19th-century ms in score. The work has no key signature. 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.
A recording of this work is available as a free download on this site, performed by The Parson's Affayre, conducted by Warren Trevelyan-Jones.
Performance time: 12 minutes.
Dixit Dominus in A:
SSSAAATTTBBB chorus (SA solo), 2 violin, 2 viola, 2 oboe, trumpet,
bass and keyboard continuo
From an 18th-century Dresden manuscript on Venetian paper in an Italian hand, a large-scale setting of the Vesper Psalm. The work has two solo arias, one for soprano and one for alto; but also specifies other soli ensembles, with up to three of each vocal type. There are also SSATB soli ensembles within choruses, though these could be performed by a semi-chorus or merely by contrasting dynamics.
Dixit Dominus: 2 vln, 2 vla, 2 ob, tr, continuo, SSATB (soli,
choir)
Donec Ponam: 2 vln, continuo, AAABBB (soli)
Virgo Virtutis: 2 vln, vla, 2 ob, continuo, SSATB
Tecum principium: ob, continuo, A solo
Juravit Dominus: 2 vln, 2 vla, (2 ob,) tr, continuo, SSATB
Dominus a dextris: 2 vln, 2 vla, 2 ob, continuo, SSATB
Judicabit: SSSTTTB, continuo.
Implevit: 2 vln, 2 vla, vlc, (2 ob,) tr, continuo, SSATB
De Torrentibus: Vln solo, S solo, continuo.
Gloria: tr, ob, continuo, ATB soli.
Sicut erat: 2 vln, 2 vla, 2 ob, tr, continuo, SSATB (soli,
choir)
Et in saeculorum: 2 vln, 2 vla, 2 ob, tr, continuo, SATB (fugue)
Performance time: 25-30 minutes.
YouTube video: Cor e orchestra della Radio Svizzera Italiana.
Dixit Dominus in G minor: SSATB chorus and soli, 2 violin, viola, bass and keyboard continuo
From an 18th-century manuscript in the Berlin Staatsbibliothek. A short work in Lotti's inimitable style, suitable for smaller ensembles than many of his other works. Requires SSATB soli and chorus.
Performance time: 10 minutes.
A computer synthesised audio track of this work.
Gloria in C No.1: SSAAATTTBBB (SSA-ATB soli), 2 violin, 2 viola, 2 oboe, trumpet, bassoon, basso continuo, keyboard
Source: a manuscript in the British Library, dating from c. 1800. This is the sole known surviving source.
1. Gloria: SSATB chorus, SSA-ATB solo, 2 vln, vla, 2 ob, fag,
tr, continuo
2. Et in terra pax: AAATTTBBB, vln, vla, basso continuo
3. Laudamus te: SSATB chorus, SSA-ATB soli, 2 vln, vla, 2 ob,
fag, tr, continuo
4. Gratias agimus tibi: S solo, 2 vln, vla, continuo
5. Domine Deus, Rex coelestis: SSA-ATB [soli], 2 vln, vla, 2
ob, fag, tr, continuo
6. Domine Fili: SSAA soli, unison strings, ob, tr, continuo
7. Domine Deus, Agnus Dei: SATB, 2 vln, vla, 2 ob, fag, tr,
continuo
8. Qui tollis: SSATB chorus, SAT soli, 2 vln, vla, 2 ob, fag,
tr, continuo
9. Qui sedes: A solo, oboe solo, continuo
10. Quoniam: SSATB SSA soli, 2 vln, vla, 2 ob, fag, tr,
continuo
11. Cum Sancto Spirito: SATB, 2 vln, vla, 2 ob, fag, tr,
continuo
A performance can be heard on this album, by the Piedmont Baroque Consortium.
Gloria in D No.1: SSAATTBB (SA soli), 2 violin, 2 viola, oboe, trumpet, basso continuo, keyboard
This work is usually paired with a Kyrie in E minor, and the two together have recently been described and recorded under the name “Mass for three choirs”. However, that name is neither authentic nor descriptive for thie pairing: Lotti wrote at least seven Kyries for three choirs; the Gloria is mostly for SSATB with one movement for double choir. (Other combinations of Lotti's mass settings might be better named "for three choirs".) The two works together were described by Zelenka as “Missa Vide Domine laborem meum”, and it is from Zelenka's collection that the Dresden source material comes.
1. Gloria: SSATB, 2 vln, 2 vla, ob, tr, continuo
2. Et in terra pax: AATTB, vln, vla, continuo
3. Laudamus te: SSATB, SSA-ATB soli, 2 vln, vla, ob, tr,
continuo
4. Gratias agimus tibi: SSATB, 2 vln, 2 vla, ob, tr, continuo
5. Domine Deus: S solo, vln, continuo
6. Domine Fili: SSAATTBB, 2 vln, 2 vla, ob, continuo
7. Domine Deus Agnus: SAB, vln, vla, continuo
8. Qui tollis: SSATB, 2 vln, 2 vla, ob, continuo
9. Qui sedes: A solo, 2 vla, ob, continuo
10 Quoniam: SSATB, 2 vln, 2 vla, ob, tr, continuo
11. Cum Sancto Spiritu: SSATB, 2 vln, 2 vla, ob, tr, continuo
We publish the Gloria in D and Kyrie in E minor together as the Missa Vide Domine laborem meum, as well as the Gloria and Kyrie individually.
(The Gloria in D No. 1 is also found in a Bodleian manuscript, where it is paired with a Kyrie in B flat, similarly for three choirs.)
Gloria in D No.3: SATB soli and chorus, 2 violin, viola, trumpet, basso and keyboard continuo.
Many of Lotti's best concert works require large numbers of vocal parts and other departures from 'standard' forces (such as 2 viola parts). But here's a work that manages to contain some of Lotti's most idiomatic and exquisite music within a more comfortable and accessible scoring. This work requires a four-part chorus, with no divisions, and SATB soloists.
It would fit rather well with Vivaldi's Gloria RV 598. Or perhaps it would embarass it!
Gloria in G No. 1: SSAAAATTTTBBBB chorus, (SSAATTB soli) 2 vln, vla, 2 oboe, trumpet, bass and keyboard continuo
Source: Copenhagen, Vienna and Berlin, assorted 18th and 19th century
manuscripts in score. This edition represents a conflation of all
three sources. FREE RECORDING
1. Gloria: (SATB, SSA-ATB soli, 2 vln, vla, 2 ob, tr,
continuo)
2. In terra pax: (SSAAAATTTTBBBB, 2 vln, vla, continuo)
3. Laudamus te: (SATB, SSA-ATB soli, 2 vln, vla, 2 ob,
continuo)
4. Gratias agimus tibi: (S solo, vln solo, continuo)
5. Domine Deus, Rex coelestis: (SSA-ATB soli, 2 vln, vla,
continuo)
6. Domine Fili: (SSTT soli, 2 vln, vla, ob, continuo)
7. Domine Deus, Agnus Dei: (SATB, 2 vln, vla, ob, continuo)
8. Qui tollis: (SATB, 2 vln, vla, continuo)
9. Qui sedes: (A solo, ob, continuo)
10. Quoniam: (SATB, SSA-ATB soli, 2 vln, vla, 2 ob, tr,
continuo)
11. Cum Sancto Spirito: (SATB, 2 vln, vla, 2 ob, tr,
continuo)
Kyrie in B flat: ATB, SSATB, SSATB, 2 vln, 2 vla, oboe, bass and keyboard continuo.
Source: Oxford, Bodleian Library: 18th-century manuscript in score. Another of Lotti's impressive three-choir Kyries from San Marco.
Kyrie I uses two SATB choirs, each with SSA soli ensembles, and a 'coro palchetto' (balcony choir) comprising an ATB trio. The Christe section keeps the ATB palchetto choir, along with two choirs only of SSA. This may well be sung entirely as a solo section. The final Kyrie is a four-part fugue with only one SATB choir. Lotti uses this model for seven of his concertante Kyrie settings.
Kyrie in C minor: ATB, SSATB, SSATB, 2 vln, vla, oboe, bass and keyboard continuo.
Source: Berlin 19th century manuscript.
Kyrie for two choirs of SSATB and an ATB “Coro Palchetto”, in the Venetian polychoral style. One of seven written by Lotti for this vocal scoring. FREE RECORDING
Kyrie in D minor No. 1: ATB, SSATB, SATB, 2 vln, vla, bass and keyboard continuo.
Source: Berlin 19th century manuscript.
Kyrie for two choirs of SATB and an ATB “Coro Palchetto”, in the Venetian polychoral style. One of seven written by Lotti for a similar vocal scoring. Christe is ATB, SSA, SAT; final Kyrie is a four-part fugue.
Kyrie in E minor: ATB, SSATB, SSATB 2 vln, 2 vla, oboe, bass and keyboard continuo.
Source: Dresden 18th century manuscript.
Kyrie for two choirs of SSATB and an ATB “Coro Palchetto”, in the
Venetian polychoral style. Often paired with the Gloria in D
and known informally as “Mass for three choirs”**, though the
pair are more formally known as Missa Vide Domine laborem meum.
The use of three choirs and 2 viola parts make it highly likely that
the work was written for San Marco in Venice.
The Kyrie is available separately, or in a volume that includes the Gloria, under the mass's full name, Missa Vide Domine laborem meum.
(** Lotti wrote at least seven Kyries for three choirs of similar forces, so the name "Mass for three choirs" todescribe the Kyrie in E minor and Gloria in D is not helpful in uniquely describing this particular music satisfactorily. It has been recorded twice using this name. The Gloria in D is written mostly for one choir of 5 voices. Other Gloria settings, such as the Gloria in G No. 1, might be more suited to that title.)
In omni tribulatione nostra: SSATB, 2 vln, [2 vla], vlc, 2 ob, fag, bass and keyboard continuo
Source: Copenhagen, Kongelige Bibliotek. A manuscript set of parts, 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.
There are no viola parts in the source, but two viola parts have been editorially supplied. As the extant instruments double the vocal parts of the two sopranos and bass, it seems likely that the altos and tenors should also be doubled. This is in keeping with much of Lotti's other works.
The text is not found in the Roman liturgy, but is found in the liturgy of San Marco, which had its own rite. It is used in the Benediction at the end of Matins on feasts of the Virgin Mary.
Performance time: 5 minutes.
Laudate Dominum omnes gentes (Vulgate Psalm 116) - SATB, SS soli, 2 vln, vla, trumpet, bass and keyboard continuo.
Source: Dresden, Sächsische Landesbibliothek; also Prague Cathedral
A short setting of Psalm 116 for choir, strings and trumpet.
This piece can be heard on a recording of Vesper Psalms by Lotti, performed by the Sächsisches Vokalensemble and Batzdorfer Hofkapelle, conducted by Matthias Jung.
Performance time: 5 minutes.
A computer synthesised audio track of this work.
Laudate pueri for 3 voices No. 1 (Vulgate Psalm 112) - SSB soli, 2 vln, vla, oboe, bass and keyboard continuo.
Source: Dresden, Sächsische Landesbibliothek.
Lotti wrote several settings of this Psalm, no doubt for Vespers. There is one setting for two voices (TB) and continuo; two settings for three voices and instruments (the other is for two sopranos and alto); and one for four voices and instruments (see below). This setting displays some of Lotti's most superlative writing and offers the opportunity for a virtuoso performance by soloists and players. The work is entirely in the aria style, with a selection of solos, duets and trios, accompanied by strings and oboe.
This piece can be heard on a recording of Vesper Psalms by Lotti, performed by the Sächsisches Vokalensemble and Batzdorfer Hofkapelle, conducted by Matthias Jung.
Performance time: 25 minutes.
A computer synthesised audio track of this work.
Laudate pueri for 3 voices No. 2 (Vulgate Psalm 112) - SSA soli, 2 vln, vla, bass and keyboard continuo.
Source: Venice, Biblioteca Nazionale Marciana.
This is the second setting of this text for three voices, this time written for SSA. The source is a rare example of an autograph, and the music thought to have been written for the girls of the Ospedale degli Incurabili. Lotti wrote several solo motets for soprano or alto solo and instruments, but this is the only work for an ensemble of voices written for the figlie di coro of the Ospedale.
It requires a bravura performance from the three female soloists -- and the violinists, too!
Performance time: 25 minutes.
Laudate pueri for 4 voices: (Vulgate Psalm 112) - SATB with Soprano solo, 2 vln, 1 or 2 vla, bass and keyboard continuo.
Source: Copenhagen, Kongelige Bibliotek, 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 four settings of this text. (The other settings are for SSA, strings and continuo; SSB with strings, oboe and continuo; and TB with organ.)
A computer synthesised audio track of this work.
Miserere mei in A minor (Vulgate Psalm 50) - SATB choir and soli, 2 vln, 2 vla, bass and keyboard continuo.
Source: London, Gresham Collection.
A setting of this psalm for SATB choir, SATB soloists, strings and continuo. The verses alternative between solo arias, full choruses, duets and trios.
Performance time: 25 minutes.
Miserere mei in C minor (Vulgate Psalm 50) - SATB choir and soli, 2 vln, 2 vla, violoncello, bass and keyboard continuo.
Source: Bergamo, Biblioteca Civico.
A setting of this psalm for SATB choir and soloists, strings and continuo. The verses alternative between solo arias, full choruses, duets and trios.
On of Lotti's finest concertato works, this piece is a sublime example of Lotti's inventive writing, set to the moving words of Vulgate Psalm 50.
Performance time: 25 minutes.
Magnificat - SATB chorus and soli, 2 vln, 2 vla, bass and keyboard continuo.
Source: Three 18th century mss: Copenhagen, Kongelige Bibliotek: 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 where they have been added in pencil. Some tutti/soli markings have also been added in pencil in the source. 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 are needed for Quia fecit; and Deposuit could be performed by an ATB trio.
Performance time: 12 minutes.
A computer synthesised audio track of this work.
Requiem Mass: SSATTTBBB chorus, SSATB soli, 2 violin, 2 viola, 2 oboe, bassoon, trumpet, bass and keyboard continuo.
Lotti’s Requiem is found in a few manuscripts in the Dresden Sächsische Landesbibliothek. Antonio Lotti stayed in Dresden from 1717 to 1719, primarily to write opera for the court of the Saxon Elector Friederich Augustus I. However, it is likely that the Requiem was written in Venice. The occasion for the Requiem is also unknown. Other later sources are in Vienna, Bergamo, Munich, and Warsaw.
The work requires an SSATB chorus (with tenors and basses occasionally divided into three!), and soli for SSATB. 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 'step out' for the solos, some of which reasonably demanding.
Instrumentally, the requirements are 2 violins, 2 violas, 2 oboes, bassoon, trumpet, and continuo section (cello and organ, +/- contrabass and theorbo). The bassoon acts as a basso ripieno, and could alternatively be performed by a contrabass or second cello.
Tempi indications, (e.g. Allegro) are all from the manuscript. Most dynamics are from the source, but some have been added to clarify existing dynamics. Obvious mistakes in the source have been amended without comment. Editorial accidentals have been added in parentheses. The organ continuo part is mostly unfigured and has been expanded editorially in the full score. This work is now in a revised edition with improved layout and editorial rigour!
Approximate performance time: 60 minutes.
This piece can be heard on a recording by Thomas Hengelbrock and the Balthus-Neumann Ensemble “Requiem”.
Missa Beatae Mariae
Virginis in caelum assumptae
SATB, 2 violin, viola, trumpet, bass continuo, organ
Source: 19th-century manuscripts in Berlin, 18th-century manuscripts in Prague.
Much of Lotti's best music requires large vocal forces, which can be difficult to assemble. However, this Kyrie and Gloria for SATB choir and soli, with strings and a trumpet offers choirs a rare chance to perform some of Lotti's best music, with more 'standard' forces of one four-part choir. SATB soloists are needed, though it is possible to perform the work with only Soprano and Alto soloists, the remaining soli parts being performed by the choir or a semi-chorus.
The earliest source for this Kyrie in D minor and Gloria in D, now in Prague, gives them the title ‘Missa Beatae Mariae Virginis in caelum assumptae’, presumably to reflect its use on the feast of the Assumption. A 19th-century source in Berlin gives the same pairing the name ‘Missa sonis musicis expressa’. A catalogue of sacred music used at the Dresden Hofkirche, compiled in the 1720s by the Bohemian composer Jan Dismas Zelenka (1679 - 1745), lists a Kyrie in D minor and Gloria in D by Lotti with the name ‘Missa S. Brunonis’, (presumably after its use on the feast of S. Bruno), and though this music is now lost, it is likely to be the same music found in the other two sources. Zelenka, a pupil and a keen admirer of Lotti’s work, gave names to other pairs of Kyrie and Gloria settings by Lotti in the repertoire of the Dresden Hofkirche, such as the ‘Missa Sapientiae’, and ‘Missa Vide Domine laborem meum’.
Missa Vide Domine laborem
meum (Mass for three choirs)
ATB, SSATB, SSATB, 2 violin, 2 viola, oboe, trumpet, bass continuo,
organ
Source: 18th century manuscripts in Dresden, Harvard University and Oxford.
A Kyrie in E minor and Gloria in D. This work has been recently described (and recorded twice) under the title “Mass for three choirs”. However, this name is neither uniquely identifying nor descriptive. The Gloria is largely written for 5 voices (SSATB) with a double choir only for one movement, and occasional divisi elsewhere in the work. The Kyrie is in three choirs – (two choirs of SSATB and an ATB trio), but is one of seven Kyries written by Lotti with similar scoring in the polyphonic Venetian style.
The work was named Missa Vide Domine laborem meum ("Behold, O Lord, my works") by Jan Dismas Zelenka, in whose collection the Dresden manuscript is found.
This piece can be heard on a recording by Harvard University Choir and Baroque Chamber Orchestra conducted by Murrah Forbes Somerville; also by Thomas Hengelbrock and the Balthus-Neumann Ensemble. The Gloria in D also features on a recording by the Lotti Chamber Choir and Camerata Pro Musica, conducted by Ferenc Rózsa, where it is paired with a Kyrie in B flat (also available from Ancient Groove Music), with which the Gloria is paired in other manuscripts.
Missa Sapientiae (Kyrie &
Gloria) SATB divisi, SSATBB 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.)
This edition is based on a Dresden manuscript. Lotti's original Kyrie is also found in British Library, 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 by Lotti.
1. Kyrie: SATB, 2 vln, 2 vla, 2 ob, fag, continuo
2. Gloria: SSATB, 2 vln, 2 vla, 2 ob, fag, tr, continuo
3. Laudamus te: SSAATB, 2 vln, 2 vla, 2 ob, fag, continuo
4. Gratias agimus tibi: SSATB, 2 vln, 2 vla, 2 ob, fag, tr,
continuo
5. Domine Deus, Rex coelestis: S solo, fl, ob, continuo
6. Domine Fili: ATB soli, 2 vln, continuo)
7. Domine Deus, Agnus Dei: SATB, 2 vln, 2 vla, 2 ob, fag, tr,
continuo
8. Qui tollis: SSATTB, 2 vln, 2 vla, 2 ob, fag, continuo
9. Qui sedes: SSATB, 2 vln, 2 vla, tr, continuo
10. Quoniam: SABB (soli), 2 vln, 2 vla, 2 ob, fag, tr,
continuo
11. Cum Sancto Spirito: SSATB, 2 vln, 2 vla, 2 ob, fag, tr,
continuo
Approximate performance time: 30 minutes.
This piece can be heard on a recording by Thomas Hengelbrock and the Balthus-Neumann Ensemble "Missa Sapientiae".