Sanctus—Adagio, D major, 10 mm leading to the first Osanna, Allegro, also D major, 27 mm.
Sanctus, sanctus, sanctus Dominus Deus Sabaoth!
Holy, holy, holy Lord God of Hosts!
Pleni sunt caeli et terra gloria tua.
The heavens and earth are filled with your glory.
The Sanctus, sanctus, sanctus Dominus Deus Sabaoth! phrase was already incorporated into the liturgy in the 4th century, during the celebration of the Eucharist or Holy Communion.
In the Sanctus, the congregation joins in praising the angels in heaven. The three-fold repetition was interpreted early on as a reference to the Trinity. The continuation says: Just as when Jesus entered Jerusalem, Christ should enter his congregation and the believers in the elements of bread and wine.
Sabaoth is a Latinized spelling of Hebrew tzevaot, “armies” or “hosts.” Dominus Deus Sabaoth is a Latinization of a Hebrew title of God, Adonai Yahweh Tzevaot, “Lord God of Hosts.”
Likewise, hosanna is a Latinization of hoshana, a Hebrew and Aramaic expression that means “save, I pray,” which became a standard liturgical term of praise.
Later the Sanctus was combined with the “Benedictus” – the cry of the crowds during Jesus’ entry into Jerusalem (Matthew 21:9): “Blessed is he who comes in the name of the Lord! Hosanna in the highest!” Sanctus and Benedictus are an integral part of the Mass and have therefore often been set to music.
Three forte chordal declamations "Sanctus" , one per measure, are completed with a following 2-measure statement "Domine Deus Sabaoth!" The basses herald "pleni sunt..." and before they can sing "coeli, " SAT join them in a rapturous "Pleni sunt caeli et terra gloria tua. " Under the choir, the orchestra is full, harmonically rich, and rhythmically busy. MM8-9: three "gloria"s are radiant and glorious.
Choirestry: make sure that the final "a" of "tua" is light and lifted slightly early especially because it comes on the downbeat of the osanna portion, and needs to make way for the bass entry "O-" on M11 beat 2.
The polyphonically layered entries should be in the aural forefront.
Symmetrically, BTAS enter on tonic, dominant, tonic, dominant, every voice following the previously entered voice at exactly 4 measures distance, all in D major, with a modulation MM24-31 to the brighter dominant key of A. At M27, and 4 measures after the soprano entry, another entry of the bass on the dominant of A, followed by the tenor predictably 4 measures later, on the tonic of A, also the dominant of D, and thus a pivot back to the home key.
Choirestry: The newly minted "O-" bass entry in M33 (3), followed by S&A M34 should be crisp and clear, because unexpected! The ending right in time, no whiff of a ritardando. playful, even a bit cheeky.
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