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For SSAAAATTTTBBBB choir and soli 2 violins, viola, 2 oboes, trumpet, bass and keyboard continuo ANTONIO LOTTI FULL SCORE www.ancientgroove.co.uk (1667 - 1740) Gloria in G Edited by BEN BYRAM–WIGFIELD ANCIENT GROOVE MUSIC

ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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Page 1: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

For SSAAAATTTTBBBB choir and soli2 violins, viola, 2 oboes, trumpet,

bass and keyboard continuo

ANTONIO LOTTI

FULL SCORE

www.ancientgroove.co.uk

(1667 - 1740)

Gloria in G

Edited by

BEN BYRAM–WIGFIELD

ANCIENT GROOVE MUSIC

Page 2: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen vocal parts. Other Glorias by Lotti are similarly (and similarly inaccurately) named. The work has been named here as Gloria in G No. 1 , which uniquely distinguishes it from all other Glorias by Lotti. There is one other Gloria in G, which is the second movement of the Missa Sapientiae.

Sources: Vienna, A-Wn, SA.67.E.46. a manuscript dated 1764, with many later additions in red pen and pencil. Copenhagen Dk-Kk, KL, C I, 730 2° 1929-30.849, a manuscript dated 1851, copied by Henrik Rung ‘in Rome’ from an unidentified source. Berlin D-Bs, Mus. ms. 13160/4, dated 1810, a collec tion of several large-scale Kyries and this Gloria, all by Lotti, copied from a Prague original of 1716. This source is afforded primacy.

Editorial methodThis edition is a conflation of the sources. Obvious errors, which are contradicted by the other sources (with Berlin taking precedence), have been corrected without comment. Dashed slurs and accidentals in brackets are editorial. The bass figures are firstly taken from the Berlin source, where they are sparingly given. Figures from the other sources are displayed where they are lacking in the Berlin source. The figures are likely to be later additions, and may be readily discarded and alternatives used. A skeleton expansion of the bass is provided.

Vocal forcesThe work requires fourteen voices for the In terra pax section; apart from this section, it could be performed by an SATB chorus with SSAATTB soloists. It is therefore most readily performed by small ensembles whose singers can each be called upon to hold one line.

1. GloriaVienna and Copenhagen sources have the first three notes of the violins as four-note chords (in descending order: G, B, D, G). This is unlikely to be original. Berlin has only the upper G and B played by the first and seconds respectively, doubling the oboes. The D is played by the viola. All sources have two soprano staves throughout this movement, which are in unison for the tutti sections and only divided for three bars of soprano soli. The scoring of an SSATB choir which has unison sopranos, except in soli sections, is typical of Lotti.

3. Laudamus te56-58 has the same notes in the trumpet part as in the oboe in all three scores. The low D could not be played on a baroque trumpet. They have been transposed up an octave.

4. Gratias agimusBerlin has an ossia for the last two bars of the soprano part, featuring an ornamented first beat at 68, with the last two notes of the piece for the soprano being a third higher.

5. Domine Deus, Rex38-40, A: Vienna source has one long note with no repeated syllables. Berlin and Copenhagen agree on the lengthy D being split across words in these bars. However, all sources agree in the

similar figure in bars 50-52 in the Bass part.

6. Domine FiliBerlin assigns the staves to Tromba, Oboe, Violino (on one staff), Viola. However, the top two staves contain notes outside the ranges of those instruments. Copenhagen has Oboe 1 ; no other instruments are given. Vienna has Oboe, with the next two staves marked as Violini. This edition assumes that the top stave is an oboe part; the remainder, strings in the usual arrangement.Vienna has articulations and phrase marks (2-note slur, staccato) in the first three bars not present in the other two sources. They have been ignored as later additions.65-74: Vienna source has only one note to ‘su’ syllable. Berlin varies between two and three notes to the syllable, shown by beaming. The underlay has been standardized.74, S2: first note, sources have A; changed to B, in keeping with imitative point.

7. Domine Deus, Agnus DeiCopenhagen and Vienna give no instrumental assignments. Berlin merely marks the top line as Tromba. Oboe doubling of the violins has been assumed.

8. Qui tollisCopenhagen states Oboi col Violini, which seems unlikely for this section. All sources state ‘violini e violoncelli senza organi’, but Vienna and Copenhagen also give figures for the bass. Berlin marks organi for the octave figure preceding the choral entry at 17 and at the subsequent similar effects.17: Violins and violas are marked ‘col basso’ here in Vienna and Copenhagen.34-39, org: Vienna marks the octave motive as tasto solo with the trio phrase as senza organo.

9. Qui sedes43: Vienna has significantly altered music for this bar, which has been pasted in place over the original music. This has been ignored.

10. QuoniamVienna has pencil marking ma non troppo allegro.27, A: last note is D in sources: changed to E.

11. Cum Sancto SpirituNone of the sources specifies the instrumentation, and oboe parts are not explicitly indicated. Oboes have been added editorially, doubling the violins. There is some uncertainty over the use of accidentals in this section. All sources have no stated key signature, and while the tonal centre of the work would seem to be G major, many Fs are unsharpened. The Vienna source has a greater number of sharps than the others, added later in red pen. Most notably, the 5th bar of the fugue subject contains a descending scale from G with no F# in Berlin or Copenhagen; Vienna has the sharp added in red. Editorial sharps have been added to the notes in the vocal parts; the sharps are marked without brackets in the doubling instrumental lines, though they agree with the voices in each source.16-17: All Fs are sharpened in Vienna (with red pen).24, Alto: Vienna has an F# (in red) also sharps for the bass; Berlin has an F with a flat (used as a cancellation); Copenhagen has no marking.

EDITORIAL NOTES

Ben Byram-WigfieldLondon, 2020

Page 3: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

CONTENTS

1. Gloria (SATB, SSA-ATB soli, 2 vln, vla, 2 ob, tr, continuo) 12. In terra pax (SSAAAATTTTBBBB, 2 vln, vla, continuo) 153. Laudamus te (SATB, SSA-ATB soli, 2 vln, vla, 2 ob, tr, continuo) 284. Gratias agimus tibi (S solo, vln solo, continuo) 495. Domine Deus, Rex coelestis (SSA-ATB soli, 2 vln, vla, continuo) 546. Domine Fili (SSTT soli, 2 vln, vla, ob, continuo) 697. Domine Deus, Agnus Dei (SATB, 2 vln, vla, [2 ob,] tr, continuo) 858. Qui tollis (SATB, 2 vln, vla, continuo) 969. Qui sedes (A solo, ob, continuo) 10310. Quoniam (SATB, SSA-ATB soli, 2 vln, vla, 2 ob, tr, continuo) 10711. Cum Sancto Spirito (SATB, 2 vln, vla, 2 ob, tr, continuo) 119

Instrumental parts and vocal scores are also available.

ANCIENT GROOVE MUSIC

ANTONIO LOTTI

Gloria in G

Page 4: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen
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(1667-1740)

ANCIENTGROOVEMUSIC

Editedby

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Page 7: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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Page 8: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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Page 9: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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5Gloriainexcelsis

Page 10: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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Page 11: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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Page 12: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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8 GloriainG

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9Gloriainexcelsis

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38

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10 GloriainG

Page 15: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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42

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11Gloriainexcelsis

Page 16: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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12 GloriainG

Page 17: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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13Gloriainexcelsis

Page 18: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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14 GloriainG

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15

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17Etinterrapax

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18 GloriainG

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in ter ra pax, pax, pax ho mi ni bus

pax, in ter ra pax, pax ho mi ni bus

pax, in ter ra pax, pax ho mi ni bus

ter ra, in ter ra pax, pax, pax ho mi ni bus

in ter ra pax, in ter ra pax ho mi ni bus

pax, in ter ra pax,

pax, in ter ra pax, pax ho mi ni bus

pax, pax in ter ra bo nae

pax, pax in ter ra bo nae

pax, pax ho mi ni bus bo nae

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in ter ra pax, pax, pax,

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vo lun ta tis,

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in ter ra pax,

et in ter ra pax, in ter ra pax,

in ter ra pax,

in ter ra pax, et in

et in ter ra, in ter ra

et in ter ra, in ter ra

et in ter ra, in ter ra

et in ter ra, in ter ra

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pax in ter ra, pax,

pax in ter ra, pax,

in ter ra pax, pax ho mi ni bus bo nae vo lun

in ter ra pax, pax ho mi ni bus bo nae vo lun

in ter ra pax, pax ho mi ni bus

ter ra, in ter ra pax, pax ho mi ni bus

pax, pax ho mi ni bus bo nae vo lun ta

pax, pax ho mi ni bus bo nae vo lun ta

pax, pax ho mi ni bus pax ho mi ni bus

pax, pax ho mi ni bus pax ho mi ni bus pax ho

pax, pax ho mi ni bus pax ho mi ni bus pax ho

pax ho mi ni bus pax ho mi ni bus

pax ho mi ni bus, pax, pax ho

pax, pax ho mi ni bus bo nae vo lun ta tis,

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bo nae vo lun ta tis, pax ho

bo nae vo lun ta tis, pax ho

tis, pax ho

bo nae vo lun ta tis, pax ho mi ni bus,

mi ni bus pax ho mi ni bus bo nae vo lun

mi ni bus bo nae vo lun ta

pax ho mi ni bus bo nae vo lun ta

mi ni bus pax ho mi ni bus bo nae vo lun

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ter ra, pax, in ter ra

ter ra, pax, in ter ra

tis, bo nae vo lun ta tis, in ter ra

tis, bo nae vo lun ta tis,

mi ni bus bo nae vo lun ta tis,

mi ni bus bo nae vo lun ta tis,

tis, bo nae vo lun ta tis,

mi ni bus bo nae vo lun ta tis,

bo nae vo lun ta tis,

ta tis, bo nae vo lun ta tis,

tis, bo nae vo lun ta tis,

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ta tis, bo nae vo lun ta tis,

tis, bo nae vo lun ta tis,

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pax ho mi ni bus bo nae vo lun

pax ho mi ni bus,

pax ho mi ni bus

pax ho mi ni bus bo nae vo lun ta

pax ho mi ni bus bo nae vo lun ta

pax ho mi ni bus,

pax ho mi ni bus, pax ho

pax, pax, pax ho mi ni bus, pax ho

pax, pax, pax ho mi ni bus,

pax, pax, pax ho

pax, pax, pax ho mi ni bus, pax,

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pax, pax,

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ta

bo nae vo lun ta

bo nae vo lun ta tis, bo nae vo lun

bo nae vo lun ta tis, bo nae vo lun

mi ni bus, pax ho mi ni bus, bo nae vo lun

mi ni bus, pax ho mi ni bus bo nae vo lun

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pax, in ter ra, pax.

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tis.

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Page 32: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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31Laudamuste

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32 GloriainG

Page 37: ANCIENT GROOVE MUSIC...ANCIENT GROOVE MUSIC The work is perhaps ill-named in the sources. Vienna and Copenhagen call it ‘Gloria a cinque’, though one movement requires fourteen

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34 GloriainG

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35Laudamuste

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37Laudamuste

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109Quoniamtusolussanctus

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110 GloriainG

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111Quoniamtusolussanctus

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113Quoniamtusolussanctus

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115Quoniamtusolussanctus

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