Veni creator spiritus (op. 97d, 1992)
Motet on the Gregorian hymn for two mixed choirs and organ
for Franz Fleckenstein on his 70th birthday
Two mixed choirs (SATB/SATB), organ
Duration: 4 minutes
Würzburg Cathedral Boys' Choir | Andreas Boltz (organ) | Siegfried Koesler
Tokyo Philharmonic Chorus | Wolfdieter Maurer
Title: "Veni creator spiritus" in a setting for 8-part double choir and organ - Length: 8 pages - Date: - - Location:
Schott Music C 53585 / ISMN: 979-0-001-16979-0
First edition: Feuchtinger & Gleichauf, Regensburg
Veni, Creator Spiritus,
mentes tuorum visita,
imple superna gratia,
quae tu creasti, pectora.
Qui diceris Paraclitus,
donum Dei altissimi,
fons vivus, ignis, caritas,
et spiritalis unctio.
You, septiformis munere,
dextrae Dei tu digitus,
Tu rite promissum Patris,
sermone ditans guttura.
Accende lumen sensibus,
infunde amorem cordibus,
infirma nostri corporis
virtute firmans perpeti.
Hostem repellas longius,
pacemque dones protinus:
ductore sic te praevio
vitemus omne noxium.
Per Te sciamus da Patrem,
noscamus atque Filium,
Te utriusque Spiritum,
credamus omni tempore.
Amen.
Come, Creative Spirit,
Visit the thoughts of yours,
Fill with supreme grace
The hearts of your created ones.
You who are called Comforter and Protector,
Are the greatest gift of God,
Life force, fire, mercy,
Ointment for the soul.
You are the sevenfold gift,
The right finger of the Father,
The fulfilment of the Father's promise,
The preaching tongue.
Kindle a light in the senses,
Fill the heart with love,
Strengthen our weak bodies
With the strength of patience.
Protect from the enemy,
Give peace from ourselves,
Lead with foresight,
Guard against all evil.
You guide us to knowledge.
Grant that we may recognise the Father and the Son,
and also you, Spirit,
so that we may believe forever.
Amen.
The text of this most famous of all Pentecost hymns is attributed to the great hymn writer and most respected theologian of his time, the Benedictine Abbot of Fulda and Archbishop of Mainz, Hrabanus Maurus (ca. 780-856). The earliest surviving record of the music can be found in the Hymnary of Kempten (around 1000). The hymn is in so-called Ambrosian verse and has its place in the morning and evening praise of the church.
My composition for two choirs and organ retains the hymn melody in all verses. The setting gradually changes in stanzas 5 and 6, with the textual recourse to the first line of the hymn giving these stanzas their special character, right up to the sweeping "Amen", which returns to the original ending of the hymn.
The choirs should be clearly separated:
Organ
Choir I
Choir II
Conductor