Osanna

What it means

Osanna in excelsis is an acclamation within the Mass that appears twice: at the end of the Sanctus and again after the Benedictus. The word goes back to a Hebrew cry for help that early on became an acclamation. Through its double position in the text, a formal peculiarity results for the setting: the same section returns and frames the intervening Benedictus.

Musical use

Composers usually use this recurrence by bringing the Osanna the second time in the same or slightly altered music. This creates a three-part layout of a festive frame and a calm centre. The settings are usually fast, brightly scored, and often fugal; the word, because of its vowels, is well suited to melismas and lively movement. In some works the second Osanna is shortened or intensified, to strengthen the conclusion of the movement. The habit is widespread but not binding; there are settings that shape the two acclamations differently.

Performance practice

Check whether the second Osanna is repeated verbatim or contains deviations, and rehearse it separately regardless — careless errors arise precisely where the familiar is expected. Watch for distinct consonants in fast movement and fix the syllable distribution in the melisma. Plan the transition from the calm Benedictus to the festive Osanna precisely, because tempo and volume change abruptly. Keep the balance with trumpets and timpani in view and rehearse the fugal entries individually.

Bear in mind that the return of the Osanna after the Benedictus forms a formal bracket: it closes the calm middle section and restores the festive tone. In many Masses the Osanna after the Benedictus is repeated verbatim. In the Requiem the Osanna is likewise sung, since the Sanctus belongs to its Ordinary. Mark the syllable distribution in the part, because melismatic Osanna sections easily fall apart.

Check whether the edition writes out the recurring section or merely places a reference, because this affects rehearsal work.