{"id":745,"date":"2015-07-27T14:19:35","date_gmt":"2015-07-27T18:19:35","guid":{"rendered":"http:\/\/sites.williams.edu\/obrechtmass\/?page_id=745"},"modified":"2018-08-01T09:10:52","modified_gmt":"2018-08-01T13:10:52","slug":"sanctus","status":"publish","type":"page","link":"https:\/\/sites.williams.edu\/obrechtmass\/score\/sanctus\/","title":{"rendered":"Examine the Score: Sanctus"},"content":{"rendered":"<div id=\"sanctus\" class=\"mass-mvt mass-mvt-landing\">\n<div id=\"scorepagetext\">\n<h5>Sanctus<\/h5>\n<p>During Obrecht\u2019s time, the Sanctus was sung during the Canon of the Mass, while the celebrant silently said the prayers and performed the ritual actions that resulted in the miracle of the Transubstantiation, the transformation of the Host into the Body of Christ. It is the concluding portion of the <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/score\/secretpreface\">Preface<\/a>, the first of the Eucharistic prayers that comprise the Canon. The Preface was intoned by the celebrant, and was tailored to the liturgical occasion; all prefaces, however, conclude with a phrase that prepares the words of the angels as told in Isaiah 6:3, &#8220;Holy, Holy, Holy &#8230;&#8221; which become the choral continuation of the Preface: &#8220;Sanctus, Sanctus, Sanctus &#8230;&#8221;<\/p>\n<p>Obrecht binds this Sanctus setting to the rest of his Mass setting for St Donatian in two ways: he commences with the by now familiar <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/glossary\">headmotive<\/a>, and he once again takes as his <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/glossary\"><em>cantus firmus<\/em><\/a> the <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/glossary\">suffrage antiphon<\/a> <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/score\/obeate\"><em>O beate pater Donatiane<\/em><\/a>. The angelic choir\u2019s communal praise of the Lord is thus combined with the communal plea for saintly intervention, emphasizing the purpose of Obrecht&#8217;s composition as musical prayer for a soul&#8217;s salvation. Especially noteworthy is the passage where bass joins tenor in an imitative treatment of the saint&#8217;s name and the name of Christ, foregrounding their presence in the midst of the angelic salutation.<\/p>\n<p>Obrecht&#8217;s Sanctus is sung by <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/era\/cappella\">Cappella Pratensis<\/a> from the original notation as preserved in the choirbook <a href=\"http:\/\/sites.williams.edu\/obrechtmass\/era\/jena\">Jena, Universitatsbibliothek, Ms 32<\/a>.<\/p>\n<p><em>For more information, see:<\/em><br \/>\nCrocker, Richard L., and David Hiley. 2001\u00a0&#8220;Sanctus.&#8221; <em>Grove Music Online.<\/em> 30 Jul. 2018. <span class=\"bibitem\"><a href=\"http:\/\/\/\/www.oxfordmusiconline.com\/grovemusic\/view\/10.1093\/gmo\/9781561592630.001.0001\/omo-9781561592630-e-0000024492\">www.oxfordmusiconline.com<\/a>. <\/span><br \/>\n<span class=\"bibitem\">Hiley, David. <em>Western Plainchant: a Handbook<\/em>. Oxford: Oxford University Press, 1993. See in particular pp. 161-65.<\/span><br \/>\n<span class=\"bibitem\">Strohm, Reinhard. <em>Music in Late Medieval Bruges<\/em>. New York: Oxford University Press. 1985. See in particular pp. 146-48.<\/span><br \/>\n<span class=\"bibitem\">Wegman, Rob C. <em>Born for the Muses: The Life and Masses of Jacob Obrecht<\/em>. New York: Oxford University Press, 1994. See in particular pp. 169-74.<\/span><\/p>\n<\/div>\n<div class=\"scoreText\"><img decoding=\"async\" src=\"https:\/\/sites.williams.edu\/obrechtmass\/files\/2015\/07\/playbutton.gif\" align=\"left\" \/><a href=\"http:\/\/sites.williams.edu\/obrechtmass\/score\/sanctus\/main\">View the score of the Sanctus<\/a><br \/>\n<img decoding=\"async\" src=\"https:\/\/sites.williams.edu\/obrechtmass\/files\/2015\/07\/playbutton.gif\" align=\"left\" \/><a class=\"pop-up-player\" href=\"#\" data-id=\"282671440\">View the film of the Sanctus<\/a><br \/>\n<img decoding=\"async\" src=\"https:\/\/sites.williams.edu\/obrechtmass\/files\/2015\/07\/playbutton.gif\" align=\"left\" \/><a href=\"http:\/\/sites.williams.edu\/obrechtmass\/score\/pleni\/\">Continue to the Pleni<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Sanctus During Obrecht\u2019s time, the Sanctus was sung during the Canon of the Mass, while the celebrant silently said the prayers and performed the ritual actions that resulted in the miracle of the Transubstantiation, the transformation of the Host into <span class=\"excerpt-dots\">&hellip;<\/span> <a class=\"more-link\" href=\"https:\/\/sites.williams.edu\/obrechtmass\/score\/sanctus\/\"><span class=\"more-msg\">Continue reading &rarr;<\/span><\/a><\/p>\n","protected":false},"author":1109,"featured_media":0,"parent":56,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-745","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/pages\/745","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/users\/1109"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/comments?post=745"}],"version-history":[{"count":17,"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/pages\/745\/revisions"}],"predecessor-version":[{"id":2716,"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/pages\/745\/revisions\/2716"}],"up":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/pages\/56"}],"wp:attachment":[{"href":"https:\/\/sites.williams.edu\/obrechtmass\/wp-json\/wp\/v2\/media?parent=745"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}