Lotti: “Crucifixus” a 8

Traio hoxe un “Crucifixus” a 8 voces (SSAATTBB) composto por Antonio Lotti (ca. 1667 – 1740). Chama a atención a harmonía, como di o músico e musicólogo Ben Byram-Wigfield na súa páxina Ancient Groove Music:

[...] Lotti’s music is characterised by a use of suspensions, chromaticism, discords and modulation. He is also a keen exponent of word painting [...]

Este “Crucifixus” soe interpretarse como obra independente, pero orixinalmente forma parte dun Credo e unha Missa completos, segundo a mesma fonte:

[...] 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. [...]

Cantado por Anúna (director, Michael McGlynn):

Cantado por The Cambridge Singers (director, John Rutter; inclúe partitura):

Cantado por The University of Wisconsin – Madison Concert Choir (director, Beverly Taylor):

Partituras deste “Crucifixus”:

• Recomendo a transcrición de Ben Byram-Wigfield, o musicólogo antes citado
• Hai tamén unha transcrición na CPDL (Choral Public Domain Library)