Sanctus
Mozart (Wiener Philharmoniker - Bohm) Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

SANCTUS, Domine Deus Sabaoth.
Pleni sunt ceeli et terra gloria tua.
Benedictus qui venit in nomine Domini.
Hosanna in excelsis.

Overall Meaning

The first line of the lyrics, "SANCTUS, Domine Deus Sabaoth," can be interpreted as a declaration of praise and reverence towards God. The word "Sanctus" means holy, and when combined with "Domine Deus Sabaoth," which translates to "Lord God of Hosts," it emphasizes the magnitude of God's power and authority. This opening phrase sets the tone for the rest of the song, highlighting the deep spiritual significance and awe-inspiring nature of the Divine.

The second line, "Pleni sunt caeli et terra gloria tua," translates to "Heaven and earth are full of your glory." Here, the lyrics express the idea that every corner of the universe is filled with the splendor and magnificence of God's glory. It suggests that God's presence permeates all aspects of creation, transcending physical, earthly boundaries. This line portrays a sense of awe and wonder, emphasizing the infinite expanse of God's glory.

Moving on to the third line, "Benedictus qui venit in nomine Domini," it can be translated as "Blessed is he who comes in the name of the Lord." This phrase alludes to the coming or arrival of someone, possibly a divine figure, who is greeted with blessings and honor because they are acting in accordance with God's will. It could be referring to Jesus or any other spiritual figure sent by God to bring salvation or enlightenment. This line embodies a sense of celebration and anticipation, recognizing the significance of the person who has arrived.

The final line, "Hosanna in excelsis," can be translated as "Hosanna in the highest." Hosanna is an exclamation of praise, often associated with joyous celebrations and expressions of gratitude. In this context, it signifies the utmost reverence and exaltation towards God. By proclaiming "Hosanna in the highest," the lyrics emphasize that God deserves the highest praise and adoration. It serves as a reminder to the listeners of the divine presence, inviting them to join in worship and glorification of God's name.

Line by Line Meaning

SANCTUS, Domine Deus Sabaoth.
Holy, Lord God of Sabaoth.

Pleni sunt coeli et terra gloria tua.
Heaven and earth are full of your glory.

Benedictus qui venit in nomine Domini.
Blessed is he who comes in the name of the Lord.

Hosanna in excelsis.
Hosanna in the highest.

Lyrics © Histoire et Chansons
Written by: Wolfgang Amadeus Mozart

Lyrics Licensed & Provided by LyricFind

To comment on or correct specific content, highlight it

TRACKS

Genre not found

Artist not found

Album not found

Search results not found

Song not found

Comments from YouTube:

@Metadeth1997

8y↑58

People dont like Sussmayr,, but this is great ! He had talent and this shows it

@ugurderin

7y↑5

So this part (along with some other parts) were added by Sussmayr after Mozart's death, and not written by Mozart himself, right?

@htb_g

7y↑2

Ugur Derin Right

@musik350

6y↑1

i guess this part was still written after some simple sketches, but what you ultimately hear will be more süssmayr than mozart

@MusiExplora

4y↑6

@@musik350 no - there are no scripts of a Sanctus of Mozart Requiem

@MusiExplora

4y↑3

stylistically speaking Süßmayr's completition sounds more as Michael Haydn than Mozart - this doesn't mean that this is better or worse

3 More Replies...

@wolfgangamadeusmozart8190

3y↑31

Omg Sussmayr did a very great work! Pls write his name and not mine!

@sonicfan9588

3y↑1

You make a good point. Btw, you’re my favorite composer 😄😄😄

@Dailysia

9y↑4

Beautiful

@VexaS1n

4y↑14

The opening chorus greatly reminds me of Bach's own Sanctus from the B-minor mass. Most of Bach's work was unknown by the time of the Requiem composition so it may remain a coincidence (one that gives me a higher sense of appreciation for both geniuses). Mozart is clearly in the framework of this piece, but Sussmayr stands out as a sore thumb in his execution, particularly during the strangely harmonized "pleni sunt coeli" part. The Osanna fugue is pretty flawed too, but I found interesting elements in it after repeated listens. The leaping subject draws from Quam Olim Abrahae resulting in a more progressed texture coming from the Offertorium. Also, the countermelody sung by the tenors (1:09) and sopranos (1:17) is a reference to the Kyrie Eleison fugue.

@StevenOBrien

I like the pleni sunt coeli part, and the descending chromatic line for the "et terra" (as if coming back down to earth from heaven), but yes, there's something not right with the way it's executed. I suspect it would make more sense sotto voce instead of being belted out, and there was probably meant to be something between the "Sabaoth" and "pleni" that would prepare the harmony better.

But yeah, I don't believe for one second that this isn't taken from a sketch by Mozart. For the longest time, I accepted the theory that it was entirely Sussmayr's work, but after listening to it hundreds of times, I hear too much of Mozart in it to believe that. Same with the Benedictus and Agnus Dei. Just Sussmayr doing his best to interpret Mozart's sketches.

@chipensemble

@@StevenOBrien The first bars are a transformation of the movement "Dies Irae" from D minor to D major, so the origin is certainly Mozartean. So is the opening melody of the Benedictus: it's present in a sketch by Mozart for his student, Barbara Ployer. As for the Agnus Dei there is not direct evidence of a sketch by Mozart, but it's not ruled out either.

@ultrad-rex1389

4y↑24

I want this played at my funeral....

@bp1mx

@@MrGar11 it is

@sasquatchdonut2674

49w

Same

@VetusBarbatus

Very humble 🤣

@GyromiteROB

6y↑21

Musicologists have theorized that although Mozart did not compose the whole piece, he probably sketched the musical ideas that Sussmayr later used for his completion. There's a potential brilliance in this piece that Sussmayr clearly was not able to develop. Personally, I enjoy Clemens Kemme's Sanctus, his version has the strongest Mozart feeling, even more than Levin's. However, the Levin's Hosanna is another league.

@chipensemble

@Wolfgang Amadé Mozart The semblance to the Coronation Mass is striking. However, one must consider the strangling timeframe that Sussmayr had to work with, in addition to not getting paid at all for his work.

@MusiExplora

4y↑3

Süßmayr did a very good job! - he finished it masterly

@MusiExplora

@Wolfgang Amadé Mozart but he knewed the plans of Mozart

@siegfriedweber7956

@Wolfgang Amadé Mozart Dear Wolferl, I have studied your life and your music since 1972! You cannot know, that your wife Konstanze had given some small notes of the unfinished Requiem d-moll, KV 626 you have written before you died in the night from 4. to 5. December. 1791! Konstanze wrote "Süßmayr konnte gar nicht fehlgehen"! In English: It was impossible that Süßmayr would have failed! Please accept this! If ....no...listen to your canon: "Leck mich im Arsch" KV 231 or 233! Ciao! Bleib´recht g´sund und reck´ den Arsch zum Mund. In English: Kiss my ass!

@alanjesantos3039

8y↑5

Sancto Deus!

@chipensemble

2y↑2

The most controversial movement of the Requiem. It still proves to be an underrated beauty, though not without its flaws. It's not shown on the score of this video, but at "Dominus Deus Sabaoth" the violins follow a rather hideous sequence of parallel fifths. At "Pleni Sunt Coeli", it can be seen and heard that Sussmayr had little time on his hands. The harmonies are rushed, modulating fast but with no purpose. The "Hosanna" fugue, with its strong syncopated subject, is the worst offender of the movement, not only in its brevity but also the rushed counterpoint. And despite all of those, this will always remain as the canon: hadn't Sussmayr completed this masterpiece, we would have suffered the same tragic resolution as the C minor mass.