Benedictus

What it means

The Benedictus is a section of the Ordinary of the Mass. It follows immediately upon the Sanctus and begins with the words “Benedictus qui venit in nomine Domini” — blessed is he who comes in the name of the Lord. Usually there follows the cry “Osanna in excelsis”, which has already ended the Sanctus and recurs here in the same or similar music. In musical shaping the Benedictus counts as the calm, heartfelt counterpole to the festive Sanctus.

Musical use

In settings of the Mass the Benedictus is frequently set for soloists or with small forces, often with a solo instrument that plays around the vocal line. Thereby a zone of calm arises within the work, lying between the jubilation of the Sanctus and the return of the Osanna. The return of the Osanna after the Benedictus is at the same time a formal means: it frames the calm section and restores the festive tone. The extent of the settings ranges from a few bars in plain Masses to extended movements in large works.

Performance practice

Shape the Benedictus as a connected vocal arc and avoid too strong accents; the text is a blessing, not a proclamation. Watch the Latin pronunciation and even vowel colours, especially in solo scoring. Clarify the scoring early, since many settings provide for soli that can be filled from the choir. Plan the transition to the returning Osanna exactly, because there tempo and loudness change abruptly. In the liturgical context the length follows the course of the service.

Note also the question of scoring: many settings use soli or a small group, and the change to full forces at the following Osanna belongs to the effect. Clarify whether the soli are filled from the choir, and rehearse the transition separately. Keep the pace calm but flowing; too slow a Benedictus loses the connection with the frame. Watch the balance with the accompanying solo instrument, which in many settings is led on an equal footing.