Veni Creator Spiritus (Latin: Come, Creator Spirit) is a traditional Christianhymn believed to have been written by Rabanus Maurus, a ninth-century German monk, teacher, archbishop, and saint. When the original Latin text is used, it is normally sung to a Gregorian Chant tune first known from Kempten Abbey around the year 1000. The hymn has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.
Veni Creator Spiritus is also widely used in Anglican liturgies, where it has appeared since the publication of the 1550 ordinal and continues to appear, for example, in the ordinal of the 1662 Book of Common Prayer, and in the Novena to The Holy Ghost in Saint Augustine's Prayer Book, published in 1947.[1] The translation "Come Holy Ghost, our souls inspire" was by Bishop John Cosin in 1625, and has since been sung at all subsequent British coronations. Another English example is "Creator Spirit, by whose aid", written in 1690 by John Dryden and published in The Church Hymn Book (1872, n. 313).[2]
Text
Several variations of the lyrics exist. Below are the original ninth-century text and a classicizing revision published in 1632 under Pope Urban VIII. The former is used in some Protestant churches and certain Catholic religious orders, while the latter is used in most secular Catholic parishes.[citation needed] A versified English translation follows.
Come, Holy Ghost, Creator blest,
Vouchsafe within our souls to rest;
Come with Thy grace and heav'nly aid
And fill the hearts which Thou hast made.
To Thee, the Comforter, we cry,
To Thee, the Gift of God Most High,
The Fount of life, the Fire of love,
The soul's Anointing from above.
The sev'n-fold gifts of grace are Thine,
O Finger of the Hand Divine;
True Promise of the Father Thou,
Who dost the tongue with speech endow.
Thy light to every thought impart
And shed Thy love in every heart;
The weakness of our mortal state
With deathless might invigorate.
Drive far away our wily Foe,
And Thine abiding peace bestow;
If Thou be our protecting Guide,
No evil can our steps betide.
Make Thou to us the Father known;
Teach us the eternal Son to own
And Thee, whose name we ever bless,
Of both the Spirit, to confess.
Praise we the Father and the Son
And Holy Spirit, with them One;
And may the Son on us bestow
The gifts that from the Spirit flow! Amen.
Notable English translations
Since the English Reformation in the 16th century, there have been more than fifty English-language translations and paraphrases of Veni Creator Spiritus.[5] The version attributed to Archbishop Cranmer, his sole venture into English verse, first appeared in the Prayer Book Ordinal of 1550. It was the only metrical hymn included in the Edwardian liturgy. In 1561 John Day included it after the psalms in his incomplete metrical psalter of that year. From 1562 onwards, in The Whole Booke of Psalmes, Day printed Cranmer's version at the start of the metrical paraphrases.[6] In terms of concision and accuracy, Cranmer compares poorly with Luther. Cranmer's sixth stanza, which mentions the Last Judgement and religious strife within Christendom ("the last dreadful day... strife and dissension..."), was a new addition, with no parallel in the Latin original or in Luther's version.
The version included in the 1662 revision of the Book of Common Prayer compressed the content of the original seven verses into four (with a two-line doxology), but retained the Latin title. It was written by Bishop John Cosin for the coronation of King Charles I of Great Britain in 1625.[7] The same words have been used at every coronation since, sung by the choir after the Creed and before the Anointing.[8] The first verse is:
Another well-known version by the poet John Dryden was first published in his 1693 work, Examen Poeticum. It has six-line verses and hence must be sung to a hymn tune in 88 88 88 meter, such as "Melita" by John Bacchus Dykes,[13] or else adapted in part to the CM with alleluias of "Lasst uns erfreuen".[14] Dryden's first verse is:
Heinrich Bone published his own German paraphrase in 1845, "Komm, Schöpfer Geist, kehr bei uns ein" (literally: Come, Creator Spirit, visit us), also using an adaptation of the plainchant melody. It appears in the German Catholic hymnal Gotteslob (2013) and its 1975 predecessor.
A rhymed German translation or paraphrase, "Komm, Heiliger Geist, der Leben schafft" (literally: Come, Holy Spirit who creates life), was written by Friedrich Dörr to a melody close to the Gregorian chant, published in 1972. It became part of the Gotteslob hymnal in 1975, and the second edition in 2013, as GL 342 in the section "Pfingsten – Heiliger Geist" (Pentecost – Holy Spirit).
Musical settings
Over the centuries, Veni Creator Spiritus has inspired the following works by notable composers, in approximate chronological order:
Johann Pachelbel, chorale prelude for organ, on "Komm, Gott Schöpfer, Heiliger Geist" (1693)[21]
Nicolas de Grigny, Veni creator en taille à 5, fugue à 5 for organ (5 versets) (1699)[22]
Henry Desmarest, Veni creator, for soloists, chorus and orchestra (early 1700s)
Johann Gottfried Walther, chorale prelude for organ, on "Komm, Gott Schöpfer, Heiliger Geist" (early 1700s)
Johann Sebastian Bach harmonized "Komm, Gott Schöpfer, Heiliger Geist" for his four-part chorale BWV 370, and also used the tune as the basis for his chorale prelude for organ BWV 631 (1708–1717), which he later extended as BWV 667 (1750).
Maurice Duruflé used the chant tune as the basis for his symphonic organ composition "Prélude, Adagio et Choral varié sur le thème du Veni Creator", Op. 4 (1926/1930).
Charles Tournemire, L'Orgue Mystique: In Festo Pentecostes, No. 25, Op. 56 (1928), Deux Fresques Symphoniques Sacrées II, Op. 76 (1939)
Karol Szymanowski, Veni creator for soprano, mixed chorus, organ and orchestra, Op. 57 (1930)
Gaston Litaize, Toccata sur le Veni Creator, for organ (1934)
Marcel Dupré, "Komm, Gott Schöpfer, Heiliger Geist" among his organ settings of 79 Chorales, Op. 28, No. 46 (1931), and Veni creator in the organ suite Le Tombeau de Titelouze, Op. 38, No. 8 (1942)
^Sharp, G. B. (1972). "The Organist's Repertory. 11: Nicolas de Grigny, 1672-1703". The Musical Times. 113 (1553): 705–707. doi:10.2307/956248. JSTOR956248.
