Veni creator spiritus
Veni creator spiritus | |
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General | |
Use: | Hymn |
Liturgical calendar : | Pentecostave prayer of the hour |
Text origin: | Rabanus Maurus |
Mode : | Eighth tone |
Choral book : | Graduale Romanum (1908), p. 121 * |
Veni creator spiritus (in German: "Come, creator spirit") is a Latin hymn from the 9th century, the majority of which is attributed to Rabanus Maurus . According to a thesis of Heinrich Lausberg , it was written on the occasion of the Aachen Council of 809 in order to get its participants in the programmatic mood for the imperial mandate to prove the theological admissibility of the insertion of the Filioque into the great creed . In any case, it is certain that the hymn was written in the theological context of this council.
The hymn is one of the few prayers in the liturgy of the Western Church that addresses directly to the Holy Spirit . At least since the 10th century, he was in the Liturgy of the Hours in the Pfingstoktav used at least since the 11th century, even in synods , consecrations and ordinations . It is also sung when the cardinals enter the conclave .
Text history
The poems of Rabanus Maurus were first published in 1617 by Christoph Brouwer based on an old Fulda manuscript under the title Hrabani Mauri, ex Magistro et Fuldensi Abbate Archiepiscopi Moguntini, poemata de diversis . This manuscript - as can be seen from other surviving fragments - as such goes back to the 10th century, but is no longer preserved today, so that Brower's imprint now takes the place of this oldest source.
In addition, there is the more recent tradition of liturgical books, some of which have passed on the text with melodies. Because of the close proximity of the hymn to the form of an iambic quaternar of the classical Latin metric , small “corrections” in a humanistic sense have been made in a few places .
In the tradition of the liturgical books are the Graduale Romanum (like its predecessor, the Liber Usualis ), the Catholic hymnbook Gotteslob (GL 341, 342 and 351), the Evangelical hymnbook with Martin Luther's translation (EG 126) and the Reformed hymnbook of Switzerland (RG 499, 500).
Text with transfers
The hymn has been translated over and over again since the 12th century. After Franz Josef Worstbrock , it is the most frequently translated hymn of the German Middle Ages. In addition to the Latin text, the most widespread versions in the German-speaking world today are the translations by Martin Luther and Heinrich Bone . In Luther's version, however, the order of the third and fourth stanzas is reversed. The hymn has been included in the praise of God under song number 341 . The German version (song number 342) is a counterfacture with a translation by Friedrich Dörr .
Latin text (GL 341) | Martin Luther (1524) | Heinrich Bone (1847) |
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1. Veni, creator Spiritus, |
1. Come, God Creator, Holy Spirit, |
1. Come, Creator Spirit, come to us, |
The last stanza in the Rabanus text was originally:
7. Praesta hoc, Pater piissime, |
7. |
Other translations come from Angelus Silesius (1668) and Johann Wolfgang von Goethe (April 9, 1820).
Structure of the hymn after Heinrich Lausberg
The hymn is composed in seven Ambrosian hymn stanzas and structurally shows in a special way a relationship with the hymn Ave maris stella .
The first stanza, as the proemium of the entire hymn, asks for the charismatic presence of the spirit. Only after six stanzas, addressing the Holy Spirit, does the seventh stanza address the entire Trinity as a doxology .
The “corpus” of the poem form the stanzas 2 to 6. They start from the already accepted designations of the Holy Spirit, namely paraclete , gift of God, living spring, etc. and lead to the formulation “utriusque spiritum”, the theological aim of the hymn , namely the doctrine to be established that the Holy Spirit does not only proceed from the Father, but as "both Spirit" also from the Son ( Filioque ).
"Indeed, one cannot fail to recognize a formal 'preciousness' and an 'artist vanity' aimed at the 'first audience' of the poet."
After the end of the Council of Aachen, the climax of the composition - credamus in its original sense of the inclusion of the Filioque formulation in the Credo - was no longer comprehensible and was either in the sense of a deeper understanding of faith (as with Luther) or an intensified power of faith (as with Bone) reinterpreted.
In some surviving versions, the original seventh stanza has been omitted or has been replaced by a doxology that is hardly poetically linked to the rest of the hymn.
According to Lausberg, the individual stanzas are based on learned allusions and without the respective terms themselves being mentioned, the seven gifts of the Holy Spirit , but not in the order as they are called in Isa 11: 2-3 VUL , but in reverse order, which since Augustine has been regarded as the “pedagogical” sequence particularly suitable for humans. The following assignment results for Lausberg:
verse | Gift | Latin | Explanation |
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1 | Fear of God | Timor Domini | There is a linguistic relationship between the words imple superna gratia in the first stanza and the word combination adimple eos Spiritu timoris tui from the confirmation rite for children in Roman rituals. In addition, the term creator implies in the first straw the attitude of the fear of God on the part of the creature. Last but not least, the first stanza of the hymn is similarly isolated as the gift of the fear of God in relation to the other six gifts. |
2 | piety | pietas | The invocation of the Holy Spirit through “consolatory” names refers to the gift of piety, which is to be understood both as “the mercy of Christ” and as “the piety of man towards God”. |
3 | science | scientia | The gift of science is assigned to the gift of speech , which is addressed in the third stanza by sermone ditans guttura . |
4th | Strength | fortitudo | The gift of strength is used as a remedy against the infirmitas (weakness) of humans mentioned in the fourth stanza . |
5 | advice | consilium | The fifth verse "asks the Holy Spirit to the against the malitia acting alcohol consilii" , d. H. the gift of counsel. |
6th | understanding | intellectus | According to the sixth stanza, the believer knows the Father and the Son through the Holy Spirit. This, in turn, is the very function of the gift of the mind. |
7th | wisdom | sapientia | The seventh stanza as a description of the eschatological vision of God corresponds to the gift of wisdom, which works in earthly life as striving for the final goal, but in reaching the final goal brings the gift of the intellect to perfection. |
Settings
The oldest Gregorian melody (in the eighth church tone ) has been handed down from Kempten around the year 1000 .
Vocal works
- Perotinus : Veni Creator Spiritus .
- Guillaume de Machaut : Veni Creator Spiritus (M 21).
- Giovanni Pierluigi da Palestrina : Veni Creator Spiritus , a 4 (in: Hymni totius anni ... , Rome 1589).
- Orlando di Lasso : Veni Creator Spiritus , two different versions for 5 and 6 voices.
- Tomás Luis de Victoria : Veni Creator Spiritus , a 4.
- Carlo Gesualdo : Veni Creator Spiritus , a 6 (in: Sacrae cantiones, liber II , 1603)
- Marc-Antoine Charpentier : Veni Creator Spiritus (H 69)
- Niccolò Jommelli : Veni Creator Spiritus , for soprano, choir, strings and bc (around 1750).
- Joseph Renner jun. : Veni Creator Spiritus for 8-part choir, op.34a (1898).
- Gustav Mahler : 1st movement of his 8th symphony (1910). In this work Mahler relates the hymn to the final scene from Goethe's Faust II , which is the textual basis of the second movement.
- Karol Szymanowski : Veni Creator for soprano, choir and orchestra, op.57 (1930).
- Carl Orff : Veni Creator Spiritus for two a cappella choirs (1953).
- Johann Nepomuk David : Veni Creator Spiritus for mixed choir a cappella (1957).
- Hermann Schroeder : Veni creator Spiritus , Hymn for large orchestra op. 39 (1961/62).
- Alwin Michael Schronen : Veni creator Spiritus , hymn for 4stg. Male choir a cappella (1995).
- Walter Steffens : Veni, Creator Spiritus for piano and mixed choir (1981).
- Carlo Pedini : Veni creator spiritus for choir, organ and flute (2000).
- Meindest Boekel : Veni Creator Spiritus for male choir and wind orchestra. Few places in the score can be filled with a soprano.
- Cristóbal Halffter : Veni Creator Spiritus for SATB choir , ensemble choir with audience support, organ ad libitum and instrumental ensemble.
Organ arrangements
- Hieronymus Praetorius : Veni Creator Spiritus
- Samuel Scheidt : Veni Creator spiritus , from: Tabulatura nova
- Nicolas de Grigny : Veni Creator , from: Livre d'orgue .
- Johann Gottfried Walther : Choral preludes Come, God, Creator, Holy Spirit , No. 68, 69 ( Fuga in Consequenza, nella quale il Consequente seque la Guida per una Diapente grave sopra 'l Sogetto ), 70.
- Johann Sebastian Bach : Choral prelude Komm, Gott, Schöpfer, Heiliger Geist BWV 667 (arranged for orchestra by Arnold Schönberg ).
- Otto Olsson : Gregorianska melodier op. 30 (1910).
- Maurice Duruflé : Prelude, Adagio et Choral varié sur le Veni Creator op.4 (1930).
- Zoltán Gárdonyi : Partita sopra Veni Creator Spiritus (1958).
- Jean Langlais : Trois Méditations sur la Sainte Trinité: Le Père - Le Fils - Le Saint Esprit (1962).
- Peter Maxwell Davies : Veni Creator Spiritus op. 225 (2002).
- Ludger Stühlmeyer : Come, Heilger Geist, who creates life (2016).
- Zsolt Gárdonyi: Toccata Veni Creator Spiritus (2020)
Other musical arrangements
- Ross Edwards : Veni Creator Spiritus for string orchestra (1997).
reception
The title of the hymn is the final word of the Stuttgart confession of guilt , which in autumn 1945 asks for a new spirit for the Protestant churches after the Second World War .
See also
- Pentecost sequence (Veni sancte Spiritus)
literature
- Yan Suarsana: The hymn “Veni creator spiritus” in two medieval translations. A source and language critical investigation. In: Jahrbuch für Liturgik und Hymnologie 47 (2008), ISSN 0075-2681 , pp. 151-170, JSTOR 24237588 .
- Raniero Cantalamessa : Come, Creator Spirit. Reflections on the Hymn Veni Creator Spiritus. 3. Edition. Herder, Freiburg i. B. 2007, ISBN 978-3-451-29161-6 .
- Stefan K. Langenbahn: Veni, Creator Spiritus . In: Walter Kasper (Ed.): Lexicon for Theology and Church . 3. Edition. tape 10 . Herder, Freiburg im Breisgau 2001, Sp. 591-592 .
- Heinrich Lausberg : The hymn "Veni Creator Spiritus". Westdeutscher Verlag, Opladen 1979, ISBN 3-531-05078-8 .
Web links
- gregorien.info
- Gregobase
- Internet Arquive: download
- Audio
- Interpretation of the hymn of John Paul II
Individual evidence
- ↑ Markus Bautsch: On Contrafactures of Gregorian Repertoire - Veni Creator Spiritus , accessed on December 8, 2014
- ^ Goethe Berlin edition. Aufbau-Verlag 1973. Volume 2, page 774, can also be found online at: https://archive.org/details/s01werkegoethe04goet/page/328/mode/2up
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, § 8 and § 11.3, with reference to dens., Ave Maris Stella, § 36.3: Lausberg argues with the term "projection ". The first stanza touches on key words that are taken up and developed in the middle five stanzas (before the doxology).
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 36–37.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 27-29.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 54–55.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 74-75.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, p. 84.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 115-118.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 118-119.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 133-135.
- ^ Heinrich Lausberg, The hymn "Veni Creator Spiritus" , Westdeutscher Verlag, Opladen, 1979, pp. 153-154.
- ↑ According to the publisher's homepage ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ According to the composer's homepage
- ↑ According to the composer's catalog raisonné
- ↑ Stuttgart declaration of guilt. Retrieved June 29, 2020 .