missa vide domine laborem meum

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Kyrie in E minorATB, SSATB, SSATB

2 violins, 2 violas, bass and keyboard continuo

Gloria in DSSAATTBB (SA soli)

2 violins, 2 violas, oboe, trumpet,bass and keyboard continuo

ANTONIO LOTTI

FULL SCORE

www.ancientgroove.co.uk

(1667 - 1740)

Missa Vide Domine laborem meumEdited by

BEN BYRAM–WIGFIELD

ANCIENT GROOVE MUSIC

�e work has been described recently (and recordedtwice) as Mass for three choirs, but this title is neitherdescriptive nor unique. While the Kyrie does indeed havethree choirs (two �ve-part choruses and an ATB trio), theGloria reaches eight parts in one movement, but isotherwise for �ve parts only (SSATB).

Lotti wrote seven Kyries with similar three-choirscoring for use in San Marco, for the �r� mass ofChri�mas Day. Lotti wrote individual Kyrie, Gloria andCredo settings, which were not necessarily designed tobe performed together. We mu� thank Lotti’s pupil, JanDismas Zelenka for pairing many of Lotti’s Kyrie andGloria settings and giving them colourful names, such asthis one. �e earlie� known source for the Kyrie dates to����; the Gloria is likely to have been written at somepoint before ����, likely for a special occasion at one ofthe many churches in Venice.

Sources:Kyrie: (B�) Berlin D-Bs, Mus ms �����/�.Kyrie & Gloria: (H) Harvard, US-CAh, f MS Mus ���;

(D) Dresden D-Dl, Mus ���� D �;(B�) Berlin D-Bs, Mus ms �����;

Gloria: (O) Oxford GB-Ob, MS Mus b �.

�e Harvard source is the earlie�, broadly contem -porary with Lotti’s years in Dresden, from ���� to ����. Ithas therefore been a�orded primacy. �e Dresden manu -script, D, dated around ����, is part of a colle�ionbelonging to Jan Dismas Zelenka. It lacks the in�rum -ental introdu�ion to the �r� two se�ions of the Kyrie

(Kyrie I: �� bars; Chri�e: �� bars). Although there areerrors in some places, it also includes details not foundelsewhere, such as tempo indications. B�, though dated����, is complete and more accurate Kyrie, and is a copyof an earlier source dated ����. B�, created in ����, alsolacks the introdu�ions, but does not have the errors ofD. It also lacks the �r� Gloria se�ion. O is dated ����, inwhich the Gloria is paired with a di�erent Kyrie in B �at.

�is edition represents a con�ation of the sourcematerials rather than a transcription of any one. Whilethe sources broadly agree on notes and underlay, otherelements (tempo marks, dynamics, articulations andornaments) are frequently found in only one source andlacking in the remainder. (For example, tempo marks areonly found in D; many dynamics in B� are not foundelsewhere.) Condu�ors should therefore feel guided butnot con�rained by these marks.

Dynamics have been added where present in any ofthe sources. Editorial dynamics in brackets have beenadded where they are consi�ent with other sourcedynamics, e.g. repeated textures, or where the continuopart has tutti/solo marks, or re�oring forte following apiano, etc.

Figured bass markings are almo� entirely absent fromB� and O, and more frequent in H, D and B�, thoughtogether they remain incomplete and insu�cient torealise the entire harmony; they are also frequentlyerroneous and poorly positioned.

Slurs are entirely editorial, used to con�rm theassignment of syllables in the vocal lines.

EDITORIAL NOTES

COMMENTARY

�. Kyrie: �e ATB trio is described as a ‘coropalchetto’ (balcony or platform choir) and would be be�performed as soli, while the other two choirs could wellbene�t from more than one to a part. However, all threechoirs frequently have the same music, so the e�e� maybe largely spatial.

�e Adagio/Andante marks in Kyrie I appear only in D.�e larger note values in the Adagio provide a sense ofslowness, so the di�in�ion need not be too pronounced.B� has dire�ions for the oboe not to play in the pianose�ions.

In the Chri�e: all the sources place the coro palchettobetween the other two choirs, but this edition places it asthe top vocal group, to be consi�ent with the Kyrie.�ere is a degree of uncertainty about whether the coropalchetto and SSA trio of Choir � should sing the tuttipassages, or not.H, B� and B� show Tenor and Bass �aves only in Choir

�, consi�ently marking their phrases with ‘choro’;whereas D writes out lower voices for Choir �. Doccasionally lacks music for a handful of parts where allother voices are singing:��-��: D has music for all parts except the �r� choirSSA. B� has music only for coro �. In D, the music forcoro � is doubled by the coro palchetto and tenors andbasses of coro �. �e SSA parts for coro � have beenadded editorially.���: Similarly, SSA parts for coro �, lacking in D andassumed in B�, have been added editorially.�. Gloria: �e continuo line accompanying the upperparts in ��-��, ��-�� is not found in D. H lacks ��-��.��-��: Continuo. �e second �gure in each bar is placedon the second beat, not the third.

�. Et in terra pax: O has ‘Violoncello solo’ in thecontinuo line and no �gures. H has a Violoncello �a�,with �gures, above the voices, and the organ �a� belowthe voices doubles the choir Basses only.��: Viola’s �nal note is C natural in all except O.�. Laudamus te: H, D and B� have no continuo accomp -animent for the upper voices, as shown by brackets in bb��-��, ��-��, ��-��.�. Domine Deus, Rex: ��: H, O and B� write the violinreprise in full. D marks da Capo, with Fine at �r� note ofbar �.�. Domine Deus, Agnus: Only D explicitly speci�esviolins and violas in unison.��-�� and similar. For underlay, D has Fi-li-us - - - (with‘us’ sung to four quavers); H, O and B� have Fi - li - us -(with all three syllables sung to two notes.)��-��: In the continuo, H, D and B� have a minim E forthe la� two beats of ��. D has a semibreve for ��.�. Qui tollis: H, D and B� have no continuo notes in bars��, �� and ��.��. Qui sedes: D and O label the �rings as ‘violoncello �& �’, with tenor clefs. H and B� do not label the �aves,also using tenor clefs. �is edition sugge�s violas forreasons of pra�icality in both in�rument range andforce requirements. Trills shown are from O. O lacks asecond violoncello line in bars ��-�.��. Quoniam: �e Adagio se�ion that opens ‘Cum San�oSpiritu’ is written in the sources at the end of thepreceding ‘Quoniam’. (It has the same �-voice scoring.) Itis something of a ‘bridge’ between the two se�ions. Forthat reason, an editorial ‘attacca’ has been added at theend of the Quoniam.

Ben Byram-Wig�eldRevised ����

(Revised again ����)

ANCIENT GROOVE MUSIC

ANTONIO LOTTIMissa Vide Domine laboremmeum

CONTENTS

�. Kyrie (ATB, SSATB, SSATB, � vln, � vla, ob, bc) �

�. Gloria (SSATB, � vln, � vla, ob, tr, bc) ��

�. Et in terra pax (AATTB, vln, vla, bc) ��

�. Laudamus te (SSATB, SSA-ATB soli, � vln, vla, ob, tr, bc) ��

�. Gratias agimus tibi (SSATB, � vln, � vla, ob, tr, bc) ��

�. Domine Deus, Rex (S solo, vln, bc) ��

�. Domine Fili (SSAATTBB, � vln, � vla, ob, bc) ��

�. Domine Deus Agnus (SAB, vln, vla, bc) ��

�. Qui tollis (SSATB, � vln, � vla, ob, bc) ��

��. Qui sedes (A solo, � vla, ob, bc) ��

�� Quoniam (SSATB, � vln, � vla, ob, tr, bc) ���

��. Cum Sancto Spiritu (SSATB, � vln, � vla, ob, tr, bc) ���

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ANTONIOLOTTI

(1667-1740)

MissaVideDominelaboremmeum

Editedby

BenByram-Wigfield

©2019BenByram-Wigfield.Freetoprint.

1a.Kyrie

ANCIENTGROOVEMUSIC

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2 MissaVideDominelaboremmeum

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©2019BenByram-Wigfield.Freetoprint.

31a.Kyrie

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©2019BenByram-Wigfield.Freetoprint.

51a.Kyrie

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46

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©2019BenByram-Wigfield.Freetoprint.

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©2019BenByram-Wigfield.Freetoprint.

52 MissaVideDominelaboremmeum

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©2019BenByram-Wigfield.Freetoprint.

534.Laudamuste

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©2019BenByram-Wigfield.Freetoprint.

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©2019BenByram-Wigfield.Freetoprint.

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©2019BenByram-Wigfield.Freetoprint.

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©2019BenByram-Wigfield.Freetoprint.

58 MissaVideDominelaboremmeum

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©2019BenByram-Wigfield.Freetoprint.

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