HMR Project: History of Music & Modern Recording

Baroque Antonio Lotti

Duetti, terzetti, e madrigali a più voci

Lotti's sole published book of 1705

Source: IMSLP

Antonio Lotti was born in Venice on 5 January 1667, though his father was Kapellmeister at a church in Hanover, Germany. He began studying music under Giovanni Legrenzi in 1682, first employed as an alto singer at St. Mark's Basilica in 1689. He became assistant to second organist the next year, second organist in 1692. He became first organist at San Marco in 1704, though not maestro di cappella until 1736. The only book Lotti published during his lifetime was 'Duetti, terzetti, e madrigali a più voci' in 1705. That contained 18 works for voice with continuo, some composed circa 1700.

'Giuramento amorosa' Madrigal for 2 sopranos by Antonio Lotti

No.7 of 18 from 'Duetti, terzetti e madrigali a più voci' pub 1705

Lyrics: Pietro Pariati

Sopranos: Elena Cecchi Fedi / Roberta Invernizzi

Of particular note among Lotti's compositions are his larger concert works for choir and instruments. Among those are his Credos containing 'Crucifixus' motets for 4 to 10 voices. A full Catholic Mass represents the Passion of Jesus in six sections between the Kyrie, Gloria, Credo, Sanctus, Benedictus and Agnus Dei. Lotti's 'Crucifixus' is written for voice a cappella (not considering basso continuo) apart from the larger Credos which include orchestra. Text in Latin is 'Crucifixus etiam pro nobis sub Pontio Pilato passus et sepultus est' which translates to '(He was) crucified also for us, under Pontius Pilate, (he) suffered and was buried' [St. James Vicariate].

Lotti's 'Crucifixus a 8 voci' in C minor is among Lotti's most highly regarded works as a section of his 'Credo in F' for choir and orchestra. It was later fitted to his 'Missa Sancti Christophori' perhaps by his student, Jan Dismas Zelenka. Lotti's 'Credo in F' was probably largely completed in Venice prior to visiting Dresden in 1717 where Lotti took it toward later discovery [Byram-Wigfield]. Included below is 'Crucifixus a 6 voci' which is a part of Lotti's 'Credo in G minor' otherwise composed for orchestra and the trademark double choir of St. Mark's (that basilica reconstructed for double choirs with organ between, whence Adrian Willaert became maestro di cappella and founded the Venetian school in 1527 upon there instituting composition for double choirs). Also below is Lotti's 'Crucifixus a 10 voci' from his 'Credo in D minor'. Grouping these together surrounding Lotti's 'Credo in F' speaks nothing as to their chronology which I leave undetermined.

'Crucifixus a 6 voci' From 'Credo in G minor' by Antonio Lotti

Scored for SSATTB

Greater credo written for double choir prob indicates composition in Venice

Westminster Abbey Choir w the Abby Consort / Martin Neary

'Crucifixus a 8 voci' in C minor From 'Credo in F' by Antonio Lotti

Scored for SSAATTBB

Prob largely written in Venice prior to Dresden in 1717

Matthew Curtis

'Crucifixus a 10 voci' From 'Credo in D minor' by Antonio Lotti

Scored for SSSAATTTBB

Le Macadam Ensemble at the Chapelle de l'Immaculée in Nantes, France 27 March 2013

With the exception of a couple years producing three operas in Dresden from 1717 to 1719 Lotti remained in Venice his entire career. Though he composed nearly thirty operas (28 works for stage), his sacred ouvre is the more esteemed, such as his aforementioned concert works for choir and instruments including oboe, bassoon and trumpet. Those instruments are found in secular works as well, such as serenatas and sonatas. His 'Echo Sonata in F major' was scored for two oboes, bassoon and continuo in which a one oboe echoes another in the first of three movements. This was transcribed into MS D-HRD Fü 3683a circa 1720. Lotti's 'Trio Sonata in A' was written for flute, continuo and oboe d'amore. Though this work is probably at least basically by Lotti, posthumous copies are questioned as to what measure they are true to Lotti's own. Between what is faithful to Lotti and what is something else can be a scholastic wrestle since posthumous manuscripts are major sources for him.

'Echo Sonata in F major' Movements 1-3 of 3 Antonio Lotti

'Echo' in allegro / adagio / presto

Scored as a quartet of 2 oboes / bassoon (fagot) / continuo

Sometime 1717-19 in Dresden Copied into MS D-HRD Fü 3683a c 1720

Sans Souci Baroque Ensemble

'Allegro' of 'Trio Sonata in A' Movement 3 of 3 Antonio Lotti

Scored for flute / oboe d'amore / basso continuo

Sometime 1717-19 in Dresden

Gan Eden Ensemble

Sometime between 1720 and 1730 Lotti authored one of his masterworks, the Kyrie in G minor and Gloria in G to 'Mass in G minor' otherwise known as 'Missa Sapientiae' ('Wisdom Mass'). His pupil, Zelenka, arranged this for performance in some capacity in Dresden in circa 1730.

'Missa Sapientiae' ('Wisdom Mass') Kyrie & Gloria Antonio Lotti

First performance in Dresden by Zelenka c 1730

Balthasar-Neumann-Chor & Ensemble / Thomas Hengelbrock

Soprano: Dorothee Mields Evangelische Kirche in Gönningen, Germany

Byram-Wigfield has Lotti composing several versions of 'Miserere Mei', three for choir and strings and two for SATB. The latter are 'Miserere mei in D minor' and 'Miserere mei in G minor' with dates of 1733 certainly in Lotti's mature period. The 'Miserere Mei, Deus' ('Be merciful to me, God') is from 'Psalm 51:3' (Vulgate 50) [text].

'Miserere mei in D minor' w 'Miserere mei in G minor' Antonio Lotti 1733

Balthasar Neumann Choir / Thomas Hengelbrock

Ensemble Métamorphoses / Maurice Bourbon

Lotti finally became maestro di cappella at St. Mark's in 1736, only to die four years later on his birthday of January 5, 1740. Motets and masses for smaller configurations of 3 and 4 voices are found in modern editions by both Annie Bank and the Breitkopf Thematic Catalogue [Dover 1966].

Sources & References for Antonio Lotti:

Ben Byram-Wigfield (Ancient Groove)

RJ Lambert (All Music)

Aryeh Oron (Bach Cantatas)

VF History (notes)

Wikipedia

Audio of Lotti: Classical Archives Internet Archive

Compositions: Catalog of Byram-Wigfield: