Crucifixus

Roughly contemporary with Vivaldi and also born in Venice, Antonio Lotti (1667-1740) spent nearly his entire career employed at St. Mark’s. His father had been an important music director in Germany, and Antonio frequently had his operas performed in that country. Today Lotti is known for just a handful of works, including the eight-voice unaccompanied Crucifixus. In this work he resurrects the antique manner of Palestrina, particularly in the gradual introduction of all voices in imitation from lowest to highest. What makes it belong to the 18th century, rather than the 16th, are the abundant tonal cadences and use of diminished seventh chords. Lotti’s attention to detail, as in the careful overlap of voice parts, helps create a sustained emotional drive toward the final phrase.

(c) Jason Stell