Wolfgang Amadeus Mozart Lyrics

Sanctus, sanctus, sanctus
Dominus Deus Sabaoth!
Pleni sunt coeli et terra gloria tua.
Hosanna in excelsis!

Contributed by James I. Suggest a correction in the comments below.
To comment on specific lyrics, highlight them
Genre not found
Artist not found
Album not found
Song not found
Comments from YouTube:


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.

The Chip Ensemble: 8-Bit Classical music ♪

@Steven O'Brien 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.

Steven O'Brien

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.

The Chip Ensemble: 8-Bit Classical music ♪

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.

Ultra D-Rex

I want this played at my funeral....

Mher Ishkhanyan

It is a not Mozart

Håkon Dekkerhus

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

The Chip Ensemble: 8-Bit Classical music ♪

Sussmayr has a Missa in D major (SmWV 106). It's not the best composition out there, but still shows his abilities as composer. As an interesting fact, the Sanctus of that work echoes his work on the Requiem, as the first vocal bars are identical.

Wolfgang Amadé Mozart

@Musi Explora Not quite. Listen to the Kyrie of my Coronation mass and compare it to this Sanctus. Sussmayr ripped it off!

Musi Explora

Süßmayr also wrote nearly the same beginning of the s
Sanctus in his missa solmnis in D-Mayor as in the Requiem, that could be an evidence why Süßmayr could wrote this genius idea in Mozarts Requiem 😉

More Comments

More Videos