There are actually three settings by Lotti of the Crucifixus section of the Credo from the Mass, for 6, 8 and 10 voices. The 8-voice setting is generally considered the most moving. In the remarkable opening, on the third syllable of "crucifixus" (he was crucified), a semi-tone dissonance is created by successive voices in upward motion, and the dissonance is drawn out for a long time, then followed by an augmented fourth (the forbidden interval). This accumulation has the startling effect of expressing tension and growing anguish. This upward reaching motion continues until the downward dissonances of the "passus" (he died) section and then the music becomes resigned, peace and solemn at the words "et sepultus est" (and was buried). This setting probably served as a model for Caldara's "Crucifixus", and its contrapuntal techniques decidedly influenced many other European composers of that time.

© All Music Guide