Sanctus And Benedictus

Andrea Gabrieli

The Sanctus is an acclamation which follows the Sursum Corda and divides the Eucharistic preparation. It is the oldest part of the Ordinary of the Mass, evolving between the third and the fifth centuries. It forms a conclusion to the first part of the Eucharistic rites and, in the early years, until around the year 800, was sung by priest and people alike. The text has its origins in Isaiah (6:3) in the context of celestial praises of cherubim and seraphim. In the Eastern Orthodox church the Sanctus is adapted in the Greek as a Trisagion – a thrice holy petition (Holy God, Holy and Mighty, Holy and Immortal – have mercy upon us). As with the Kyrie, at the second council of Orange in 529, the words of the Sanctus were also prescribed for use at Vespers. Gabrieli’s setting of the text here is for three choirs, making a twelve-part chorus of SSAT/SATB/BrassTBB. The three choirs take turns to sing until the third line of text, when they all sing together. The same structure is adopted in the Benedictus with the choirs coming together on the word Osanna. 

Sanctus, sanctus, sanctus,
Dominus Deus sabaoth.
Pleni sunt cæli et terra gloria tua,
Osanna in Excelsis.

Holy, holy, holy,
Lord God of hosts.
Heaven and Earth are full of Thy glory,
Hosanna in the Highest.

Benedictus qui venit in nomine Domini.
Osanna in Excelsis.

Blessed is he who comes in the name of the Lord.
Hosanna in the Highest.

Recercar Con Obligo Di Cantare La Quinta Parte Senza Toccarla

Girolamo Frescobaldi

This piece for keyboard, with cornett obbligato, was published in Venice in 1635 as part of Fiori Musicali, and is one of the most influential collections of keyboard music from this period. Fiori Musicali (Musical Flowers) is a collection of liturgical organ music by Frescobaldi. It contains three organ masses and two secular capriccios. Generally acknowledged as one of Frescobaldi's best works, Fiori Musicali influenced composers during at least the next two centuries. Johann Sebastian Bach was among its admirers, and parts of it were included in the celebrated Gradus ad Parnassum, a highly influential treatise on counterpoint published in 1725 by the music theorist Johann Joseph Fux (1660-1741).

Jubilate Deo

Giovanni Gabrieli

This setting is for three choirs of five parts as follows: SSAT brass/AT,brass,B,brass/brass,SA,brass,B. The music is extravagant, both melodically and harmonically, and is a wonderful example of the Venetian chori spezzati style of the late sixteenth century. The choirs often sing antiphonally, imitating one another, and then, at certain moments, come together to present a very thick and exciting texture. The piece ends with a fast triple time section.