Uploaded July 2025 | Updated September 2026, 2 weeks ago
Netherlands Ballet Orchestra conducted by Thierry Fischer.
I - Appassionato maestoso (𝅘𝅥𝅮 = 46-8) - Tempo II. Appassionato maestoso sempre (𝅘𝅥𝅮 = 54-6): 0:00
Franssens's "Sanctus" was composed on 1996, revised later on 1999. It was written for the Residentie Orchestra (Residentie Orkest), a Dutch orchestra based in The Hague, with financial support from the Fonds voor de Scheppende Toonkunst, a Dutch foundation funded by the Ministry of Education, Culture and Science in order promote the creation of new compositions in the field of classical music and jazz. Following a performance in Łódź, Poland (March 2010), Sanctus became his most performed orchestral work.
The title refers the hymn in Christian liturgy. In Western Christianity, the Sanctus forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the Sanctus. The hymn has been set to numerous plainchant melodies, many of which are given in the Roman Missal, and many more composers have set it to polyphonic music, both in single settings and as part of cyclic mass settings.
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt cæli 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 that cometh in the name of the Lord:
Glory to thee O Lord in the highest.)
After completing his musical studies with Louis Andriessen and Klaas de Vries, Franssens became inspired by Ligeti’s micropolyphony and the phase-shifting technique of Steve Reich. The relationship with Ligeti’s music becomes clear in works written in the eighties such as "Echo’s" and "Phasing". The influence of Reich can already be heard in "Between the Beats", an early piece for two pianos. During the nineties, Franssens’ sound became more open and more optimistic in tone. Because of the melodious, generous and emotional character of his music, he encountered growing resistance within the Dutch music scene. Contrarily he received growing acclaim by a wider audience. His first CD with "Echo’s", "Phasing" and "Sanctus" was a hit.
The work opens with a deeply solemn main theme on strings and woods, exposed and unravelled with a slow beat and long sustained notes and melodious lines. The piece has resemblances with Renaissance polyphony, with a predominance of consonant harmonies with clear and warm textures. An indication in the score like “When necessary, winds apply choral breathing” strengthens the association with vocal music. The piece gradually builds towards a powerful and expressive central climax. Then Franssens shifts to a subdued orchestration for solo, "come una preghiera" (like a prayer). The piece ends in the high register, with a whisperingly soft C major chord, given extra splendour by the celesta and first violin.
Picture: "Good Shepherd", fresco from the Catacomb of Priscilla (Anonymous, second half of the 3rd century).
Musical analysis partially written by myself. Source: tinyurl.com/2brun3zn
To see the score: tinyurl.com/26urfcxd
Netherlands Ballet Orchestra conducted by Thierry Fischer.
I - Appassionato maestoso (𝅘𝅥𝅮 = 46-8) - Tempo II. Appassionato maestoso sempre (𝅘𝅥𝅮 = 54-6): 0:00
Franssens's "Sanctus" was composed on 1996, revised later on 1999. It was written for the Residentie Orchestra (Residentie Orkest), a Dutch orchestra based in The Hague, with financial support from the Fonds voor de Scheppende Toonkunst, a Dutch foundation funded by the Ministry of Education, Culture and Science in order promote the creation of new compositions in the field of classical music and jazz. Following a performance in Łódź, Poland (March 2010), Sanctus became his most performed orchestral work.
The title refers the hymn in Christian liturgy. In Western Christianity, the Sanctus forms part of the Ordinary and is sung (or said) as the final words of the Preface of the Eucharistic Prayer of remembrance, consecration, and praise. The preface, which alters according to the season, usually concludes with words describing the praise of the worshippers joining with the angels, who are pictured as praising God with the words of the Sanctus. The hymn has been set to numerous plainchant melodies, many of which are given in the Roman Missal, and many more composers have set it to polyphonic music, both in single settings and as part of cyclic mass settings.
Sanctus, Sanctus, Sanctus
Dominus Deus Sabaoth.
Pleni sunt cæli 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 that cometh in the name of the Lord:
Glory to thee O Lord in the highest.)
After completing his musical studies with Louis Andriessen and Klaas de Vries, Franssens became inspired by Ligeti’s micropolyphony and the phase-shifting technique of Steve Reich. The relationship with Ligeti’s music becomes clear in works written in the eighties such as "Echo’s" and "Phasing". The influence of Reich can already be heard in "Between the Beats", an early piece for two pianos. During the nineties, Franssens’ sound became more open and more optimistic in tone. Because of the melodious, generous and emotional character of his music, he encountered growing resistance within the Dutch music scene. Contrarily he received growing acclaim by a wider audience. His first CD with "Echo’s", "Phasing" and "Sanctus" was a hit.
The work opens with a deeply solemn main theme on strings and woods, exposed and unravelled with a slow beat and long sustained notes and melodious lines. The piece has resemblances with Renaissance polyphony, with a predominance of consonant harmonies with clear and warm textures. An indication in the score like “When necessary, winds apply choral breathing” strengthens the association with vocal music. The piece gradually builds towards a powerful and expressive central climax. Then Franssens shifts to a subdued orchestration for solo, "come una preghiera" (like a prayer). The piece ends in the high register, with a whisperingly soft C major chord, given extra splendour by the celesta and first violin.
Picture: "Good Shepherd", fresco from the Catacomb of Priscilla (Anonymous, second half of the 3rd century).
Musical analysis partially written by myself. Source: tinyurl.com/2brun3zn
To see the score: tinyurl.com/26urfcxd
