Crucifixus Composed by Antonio Lotti Arranged by Jim Alexander 3:00 Minutes 4 Trumpets 1 Horn in F 4 Trombones 1 Tuba
Alternative transposed parts for Eb Soprano Cornet, Eb Tenor Horn, Bb Trombone, Euphonium or Baritone in Treble Clef and Eb & Bb Bass in Treble Clef are automatically included in both hard copy and download formats. If you require additionally transposed parts, please drop me an email at info@superbrass.co.uk All Rights Reserved.
Š 2017 www.superbrass.co.uk
Programme Notes Antonio Lotti (1667–1740) was an Italian Baroque composer. He was born in Venice, although his father Matteo was Kapellmeister at Hanover at the time.and studied with Lodovico Fuga and Giovanni Legrenzi, both of whom were employed at St Mark's Basilica in Venice. Lotti made his career at St Mark's, first as an alto singer then as an organist, finally working his way up to the position of Maestro di Cappella, (Master of the Chapel) a position he held until his death. Between 1717-1719 he travelled to Dresden, where a number of his operas were produced while he was employed at the court of Friedrich Augustus I, Elector of Saxony. Lotti wrote in a variety of forms, producing masses, cantatas, around thirty operas, and instrumental music. Some of his sacred choral works are unaccompanied (a cappella) but many of them are composed in the concertato style with strings, basso continuo, and occasionally oboes and trumpets. His more progressive works foreshadow the gallant style, considered a transition between the established Baroque and emerging Classical styles. Lotti is thought to have influenced Johann Sebastian Bach and George Frideric Handel. One of the most famous pieces that Antonio Lotti wrote, Crucifixus comes from his Credo in F minor and was most written whilst the composer lived in Dresden. The piece begins lowest voices in the choir with basses and tenors, before being joined by first altos and finally sopranos. Each new entry creates even more complex harmony and sets up a series of seemingly never-ending suspensions. This opening section is followed by a gradual building of tension as the music describes the crucifixion of Christ, heightened by the false relation halfway through bar 29. The final burial of Christ is then portrayed with a calm and serene cadence in C major. Superbrass Music Since the start of Superbrass in early 2005, I have strived to commission new original compositions and arrangements for brass and percussion. Superbrass Music is committed to developing accessible new music for brass of the very highest quality. Illegal photocopying denies composers and publishers of their rightful revenue. A lack of revenue deters publishers from investing in new commissions. ALL MUSICIANS suffer the consequences of illegal photocopying. The future is in your hands. Now that you have the facts, you can help the future of the creative music world. If you do happen upon any errors please let me know by contacting me personally at info@superbrass.co.uk Roger Argente / Artistic Director
Superbrass Music Composed by Antonio Lotti Arranged by Jim Alexander Edited by Roger Argente
Crucifixus Score in C Lento q = 60
°
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Trumpet 1
b4 & b b4
b4 & b b4
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∑
∑
∑
Trumpet 2
b4 & b b4
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∑
∑
∑
Trumpet 3
b4 & b b4
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∑
Trumpet 4
Œ ˙ œ mf
b4 & b b4
Horn in F
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∑
∑
∑ w
˙ œ
? bb 44 b
Trombone 1
∑
∑
Πmp
? bb 44 b
Trombone 2
Œ ˙
∑
w
œ œ nœ ˙
œ œœ˙
w
œ
mp
w ? bb 44 b
Trombone 3
∑
Œ ˙ œ p
? bb 44 Œ ˙ b
Bass Trombone
œ w
œ œnœ ˙
˙™
<b> œ œ ˙ ˙
p
Tuba
¢
? bb 44 b
∑
∑
∑
All Rights Reserved © 2017 Superbrass Music www.superbrass.co.uk
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2 6
poco rit.
, °
bbb
w ∑
w
Œ ˙ œ
&
Tpt 1
œ œ œ˙
f
mp
, b &b b
Tpt 2
∑
œ w
Œ ˙
œ œnœ ˙
œ nœnœ ˙
nw mp
mf
f
, b & b b Œ<n> ˙ œ
Tpt 3
w
˙
˙
œ nœ œ ˙
˙™
œ#œ w mp
mf
f
, bbb nw
˙
&
Tpt 4
˙
œ œ n˙
w
w
w mp
f
b &b b
Horn
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˙ ˙
∑
∑
œ ˙™
˙™
w
∑
∑
w ,
nœ w ? bb
Tbn 1
b mp f
™ ? bb ˙ b
Tbn 2
˙ b œnœ w
˙™
nœ nœ nw ,
w ˙
mp
f
, ? bb nw b
Tbn 3
œ œ#œ ˙
w
w w ˙
mp
˙ mp
f
, ? bb
B Tbn
˙ w b #w
w
w
w
#˙ mp
f mp
? bb
Tuba
¢
∑ b
∑
∑
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3
A ° b Tpt 1 & b b
A tempo
12
b &b b
Tpt 2
bbb
∑
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∑
∑
∑
∑
∑
legato œœœ œ œœ œœ œ œ Ó
Ó
œ œ œ œ œ œœœ ˙
&
Tpt 3
mp
mf
legato
b &b b Ó
Tpt 4
œ œ œ œ œ œnœ œ œ œ
Ó
b œ œœœ œ œ œ œ œ œ œ ˙ ™
œ
mp mf
legato
bbb
Ó
∑
&
Horn
œœœ œ œœ œœ œ œ
œ ™ œj˙
mp
œlegato œœœ œœœœ ˙
˙ œ œ œœ œ
œœœœ œ œ<b> œ œ ˙ ? bb
Tbn 1
Ó b mp mf
legato œœ œœœ œ œ œ œ œ n œ œ œ œ ? bb b
Tbn 2
mf
œ<b> œ ˙ , œ œ œ œ œ œ œ œ w
mp
mp
mf
, legato ? bb œ œ œ œ<b> œ œ œ œ œ œ œœœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ w b
Tbn 3
mp
mp
mf
legato
, <n> ˙
? bb
B Tbn
œ œ œœ œœœœœœ
Ó ˙ b
w mp
mp mf
? bb
Tuba
¢
∑ b
∑
∑
∑
4
B 17
°
b &b b
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Tpt 1
b &b b
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∑
∑
∑
∑
Tpt 2
b œ &b b œ œ ˙
∑
∑
∑
∑
Tpt 3
b & b b œ œnœ ˙
∑
Tpt 4
Œ œ
Ó
œœ œ œœ œ
œ ˙ œ
p
b & b b œ™ œj ˙
Horn
∑
Œ œ œ œ œ œ œ œ œœœ œ ˙ ˙ p
œ œœœœ œ œ Tbn 1
œ œœœ œœ œ
? bb w b
Œ
p
Ó
Ó
Œ
p
w œ œ œ œ œ <b> œ œ œ œ œ œ œ œ ? bb
Tbn 2
Œ
œ œœœ œœ œ Œ
b p p
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œnœ œ Œ Œ
? bb w b
Tbn 3
Ó
Œ
p
p
mp
? bb w b
B Tbn
∑
∑
Œœ
Ó
p
? bb
Tuba
¢
mp
∑
Œ œ œœœœ œ œ ˙
b p
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5 22
° Tpt 1
b &b b
∑
∑
∑
Œ ˙
∑
nœ
mp
b &b b
Tpt 2
∑
∑
∑
f
Œ ˙
∑
nœ
mp
b & b b Œ <b> ˙
Tpt 3
∑ œ
∑
f
∑
œ œ ˙
mp
b & b b œ <b> œ
Tpt 4
˙
Œ ˙
b &b b
œ ˙
Ó ˙ ˙
mp
Horn
œ œ ˙
mp
mf
∑
Ó
Œ œ
˙ ˙ ˙ ˙ œœœœœœ mp
f mf
œ œœœœ œ œ œ œ œ œ œœ œ ? bb
Tbn 1
∑
Ó
Œ
Ó
Œ
b mp
? bb
Tbn 2
∑
mf
œ œœ Œ œœ œœ Ó
Ó
œ œ œ œ œ nœ œ Œ
b mp mf
œœœœœœ œ œ œœ œ œ <b> œ ? bb b
Tbn 3
œœœœœœ ∑
∑ mf
? bb œœ œ œ œ œ œ œ œ œ œ œ œ Ó b
B Tbn
Œœ œ ˙
œ œ ˙ bœ
mp f
? bb
Tuba
¢
∑ b
∑
Ó
Œœ œ ˙ œ œ ˙ bœ mp f
6
C Slightly slower ˙ ° bb œ Œ ˙ Tpt 1 & b
rit.
27
˙ ˙ b˙
˙ nœ œ ˙ ™
œ
œ ˙ <b> œ œ œ œ œ ˙ ™
œ
ff
mf dolce
bb œ Œ ˙ b &
Tpt 2
˙ ˙
ff mf dolce
b &b b
Tpt 3
∑
∑
Ó
Œ œ œ œ œ œ ˙™
œ
ff
b &b b
Tpt 4
∑
∑
Ó ˙
œ˙
œ œ nœ œ œ œ f
˙™
œ œ nœ<n> œ œ œ
ff
b &b b ˙
Horn
˙ œ œ
œ œ
˙ b˙
f ff
œ ˙ œ
œ ˙
˙ nœ
? bb
Tbn 1
œ<b> œ œ œ ˙
b
œ œ nœ ™ œ J
f ff
™ ? bb ˙ b
Tbn 2
œ œœœœ œ œ f
f
˙
˙ ˙
˙ b˙ œ ˙ œ
? bb Πb
Tbn 3
˙™
œ ˙ Œ
œ
ff
f
,œ ? bb œ œ œ œ œ œ œ œ nœ œ œ œ œ œ n˙ b
B Tbn
œ
ff
˙ œ
œ œ ˙™
˙ nœ œ ˙ ™ œ
ff
, ? bb
Tuba
¢
Œ Ó b œ
Œ ‰ œj nœ œ œ œ œ œn˙ f ff
˙ nœ œ w
7
A tempo
32
° Tpt 1
, b œ ˙ &b b
˙
à w
˙
w
w
œ f ff f
mf sub. p
bb œ , ˙ b &
Tpt 2
˙ ˙
mf sub. p
n˙ f
, b &b b œ ˙
Tpt 3
˙
œ
nw
bw f
ff
n˙ ˙ #˙ œ ˙
mf sub. p
w
f f
ff
, b &b b œ ˙
Tpt 4
w
à n˙ œ
mf sub. p
f
œ œ #˙
˙
œ nœ nœ ˙
w
ff f
, b &b b œ ˙
Horn
à n˙ œ
œ œ #˙
˙
œ nœ nœ ˙
w
ff
mf sub. p
f f
, œ ˙
? bb
Tbn 1
œ
>œ > ˙ nœ
œ n> ˙
à œ nw w
b f
mf sub. p
, ? bb œ <b> ˙ b
Tbn 2
f
ff
à œ
˙ #˙
#œ > ˙
œ
w
w
mf sub. p f
ff f
, ? bb œ ˙ b
Tbn 3
>œ ˙
à œ > ˙
œ <n> œ
œ
w
w
ff mf sub. p
f f
, ? bb
B Tbn
à ˙ <b> œ
˙ nw
bœ
˙ ˙
mf sub. p
˙ ff
, ? bb
Tuba
¢
f
à Œ Ó
∑
b ˙
w ˙
œ f mf
w
f
“‘
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8 37
Adagio rit.
° Tpt 1
b &b b ˙
˙
˙
˙
˙
˙
n˙
w n˙
mp
b &b b w
Tpt 2
n˙
p
˙ w
˙
˙
w
mp p
b &b b w
Tpt 3
˙
œ nw
˙™
˙ n˙
˙ mp
b &b b ˙
Tpt 4
p
∑ b˙
˙
∑
˙ w p
b &b b ˙
Horn
Ó b˙
∑
∑
˙ w mf p
˙
˙ nœ ˙
? bb
Tbn 1
œ
˙™
œ w
∑ b p
mp mf
œ ? bb ˙ ™ b
Tbn 2
˙
˙
œ œ ˙
œ ˙
œ nw p
mp
˙ nœ ˙ ™
? bb w b
Tbn 3
˙
˙
w
˙ p mp
? bb w b
B Tbn
w #˙
˙
˙
˙ w mp p
? bb
Tuba
¢
∑
∑
∑
Ó
b ˙ “‘
w
p pp