Sanctus | BASS Practice Track | John Rutter

Sanctus arrives like sunlight breaking through — a dancing 3/4 pulse that lifts Rutter's Requiem from the shadows of "Out of the Deep" into something radiant and exultant. This SSATB practice track walks you through every layered entrance, every rhythmic turn, and the soaring "Hosanna" that crowns the movement.
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ABOUT THE PIECE

"Sanctus" is the third movement of John Rutter's Requiem, completed in 1985 and dedicated to the memory of his father. It sets the traditional Latin Sanctus text — "Holy, Holy, Holy, Lord God of Hosts" — in a buoyant 3/4 metre that stands in radiant contrast to the C minor shadows of the preceding "Out of the Deep." Scored for SSATB chorus with piano, the movement builds through canonic entries from a hushed opening to a jubilant, bell-like "Hosanna in excelsis." The Requiem was first performed in full at Lovers' Lane United Methodist Church in Dallas, Texas, on October 13, 1985, and published by Oxford University Press the following year.

ABOUT THE COMPOSER

John Rutter (b. 1945) is among the most widely performed living choral composers. Educated at Clare College, Cambridge, he founded the Cambridge Singers and built a catalogue spanning carols, anthems, and extended sacred works. His Requiem — blending Latin liturgy with English biblical texts — is his most ambitious composition, alongside works like "Gloria," "Magnificat," and "The Lord Is My Shepherd." Rutter's music is published principally by Oxford University Press.

TEXT AND MEANING

The text is the Sanctus from the Ordinary of the Mass: "Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth. Pleni sunt caeli et terra gloria tua. Hosanna in excelsis. Benedictus qui venit in nomine Domini. Hosanna in excelsis." — "Holy, Holy, Holy, Lord God of Hosts. Heaven and earth are full of thy glory. Hosanna in the highest. Blessed is he who comes in the name of the Lord. Hosanna in the highest." Rutter sets this ancient acclamation as a dance of praise — the 3/4 pulse never flags, and the layered vocal entries create a sense of voices multiplying until the full choir is alight. For the singer, the challenge is rhythmic precision and clean entrances; with the SSATB division, the two soprano lines must blend yet stay distinct through the canonic passages.

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