Cum Sancto Spiritu: SAB, a cappella Choral Octavo

Name: Cum Sancto Spiritu: SAB, a cappella Choral Octavo
Brand: Alfred Music
SKU: 00-SV9112
Price: 2.25 USD
Availability: InStock

By Antonio Lotti / ed. Patrick M. Liebergen

Level: Moderate

Item: 00-SV9112

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This anthem is the final portion of a 'Gloria' taken from one of Lotti's masses, and is a lovely example of his use of imitation. It's scored a cappella, but instruments could easily and effectively double the vocal parts, as was often the tradition. Includes an alternate English text. For Pentecost or general use. This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Cum Sancto Spiritu: SAB, a cappella Choral Octavo comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Alfred Archive Edition: Studio PR Catalog

Publisher: Alfred Music

Page Count: 8

UPC: 029156189957

SKU: 00-SV9112

More about this title

About the Composer: Antonio Lotti

Antonio Lotti (1666–1740) served as maestro di cappella at St. Mark's Basilica in Venice for the latter part of his career, a position that placed him at the heart of one of Europe's most musically sophisticated cities. He was a prolific composer of sacred music whose polyphonic works demonstrate the sophisticated counterpoint and harmonic language of the late Baroque, bridging the older traditions of the Renaissance with emerging Classical sensibilities.

Lotti's choral writing is marked by clarity of texture and careful voice leading. His masses and motets circulated widely throughout Europe and remained in the repertoire long after his death, cementing his reputation as a master of sacred vocal music. The works available today offer music educators access to genuinely substantial Baroque literature that rewards both singers and listeners.

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Why we love this

Lotti's imitative writing creates natural musical conversation between the voice parts without demanding complex rhythmic coordination. The SAB voicing keeps this Baroque masterwork accessible to developing choirs while the harmonic language and structural integrity keep it genuinely musical, not simplified.

What to expect

The music unfolds with elegant restraint, each voice rising to present its melodic idea before yielding to the next. There is grandeur in the harmonic foundation and grace in the interweaving lines, creating a sense of conversation elevated to prayer.

Who it's for

This octavo works for intermediate treble or mixed choirs tackling genuine Baroque literature for the first time. It suits singers comfortable with part independence and directors seeking material with real musical substance for Pentecost or spring concerts.

How to get the most out of it

Shape each imitative phrase as a complete musical thought rather than a mechanical repetition; let the entrance of each part feel like a response or echo.
Balance the soprano and alto lines when they interweave; both voices often carry essential thematic material.
Consider having instruments double the three parts (strings work especially well) to thicken the texture and add harmonic support without altering the a cappella character.
Maintain steady pulse through the imitative sections so entrances land with precision and the overlapping lines stay clear.

How to use it

This excerpt works beautifully as the culmination of a Gloria movement or as a standalone anthem for Easter season or Pentecost services. Pairing it with other Renaissance or Baroque sacred works creates a cohesive concert devoted to vocal counterpoint.