Antonio Lotti (16671740) was an Italian composer of
classical music. Lotti was born in Venice, although his
father Matteo was Kapellmeister at Hanover at the time.
In 1682, Lotti began studying with Lodovico Fuga and
Giovanni Legrenzi, both of whom were employed at St
Mark's Basilica, Venice's principal church. Lotti made
his career at St Mark's, first as an alto singer (from
1689), then as assistant to the second organist, then
as second organist (from 1692), then (from 1704) as
first organist, and finally (from 1736) as maestro di
cappella, a position he held until his death. He also
wrote music for, and taught at, the Ospedale degli
Incurabili. In 1717 he was given leave to go to
Dresden, where a number of his operas were produced,
including Giove in Argo, Teofane and Li quattro
elementi (all with librettos by Antonio Maria Luchini).
Other works written in Venice include Giustino; Trionfo
dell'Innocenza; the first act of Tirsi, Achille
Placato, Teuzzone, Ama pił che non si crede, Il comando
inteso e tradito, Sidonio, Isaccio tiranno, La forze de
sangue, Il Tradimento traditore di sč stesso,
L'Infedeltą punita, Poresenna, Irene Augusta, Polidoro,
Foca superbo, Alessandro Severo, Il Vincitore
Generossi. In Dresden, he wrote Odii del Sangue delusi.
He returned to Venice in 1719 and remained there until
his death in 1740.
Lotti wrote in a variety of forms, producing masses,
cantatas, madrigals, around thirty operas, and
instrumental music. His sacred choral works are often
unaccompanied (a cappella). His work is considered a
bridge between the established Baroque and emerging
Classical styles. Lotti is thought to have influenced
Johann Sebastian Bach, George Frideric Handel, and
Johann Dismas Zelenka, all of whom had copies of
Lotti's mass, the Missa Sapientiae.
Lotti was a notable teacher, with Domenico Alberti,
Benedetto Marcello, Baldassare Galuppi, Giuseppe
Saratelli and Johann Dismas Zelenka among his pupils.
He was married to the noted soprano Santa Stella.
A Missa brevis (Latin, pl. Missae breves) is literally
a "short Mass" and is applied alike to musical works in
which the entire the ordinary of the mass is set in a
highly efficient manner and to those in which part of
the text is omitted. The first approach is found in the
mostly syllabic settings of the 16c (Lassus' Missa
iager or "hunter's Mass) and the later custom of
'telescoping' (or simultaneous singing by different
voices) in 18c Masses. 'Partial' Masses are seen in the
Lutheran tradition, where many works consist of Kyrie
and Gloria, and in many Anglican Masses which omit (or
rather leave to be spoken) the Creed. Although written
for Chorus (SATB), I adapted this work for the
traditional Woodwind Quartet (Flute, Oboe, Bb Clarinet
and Bassoon) to accentuate their warm rich tones.