In this article we are going to explore in depth the topic of Veni Sancte Spiritus, a topic that has been the subject of countless research and debates over the years. Veni Sancte Spiritus is a topic that has captured the attention of people of all ages and backgrounds, and its importance extends to a variety of fields, from science and technology to politics and culture. Through this article, we will seek to shed light on the different aspects of Veni Sancte Spiritus, analyzing its origins, its impact on society and its possible implications for the future. We hope this article serves as an informative and stimulating source for anyone interested in learning more about this fascinating topic.
"Veni Sancte Spiritus", sometimes called the Golden Sequence, is a sequence prescribed in the Roman Liturgy for the Masses of Pentecost and/or its octave, exclusive of the following Sunday. It is usually attributed to either the thirteenth-century Pope Innocent III or to the Archbishop of Canterbury, Cardinal Stephen Langton, although it has been attributed to others as well.
"Veni Sancte Spiritus" is one of only four medieval Sequences which were incorporated into the Curial Rite before the Council of Trent (1545–63), and therefore found in the Roman Missal published in 1570. Before Trent, many feasts had their own sequences. It is still sung today in some parishes on Pentecost Sunday.
Original Latin text | Literal English translation | ICEL English translation | J. M. Neale's translation |
---|---|---|---|
Veni, Sancte Spiritus, |
Come, Holy Spirit, |
Holy Spirit, Lord of light, |
Come, Thou holy Paraclete, |
The 2004 Enchiridion Indulgentiarum grants a partial indulgence to those who recite the hymn at sunrise or sunset; at the beginning or conclusion of one's workday; or before or after meals.
The sequence was set to music by a number of composers, especially during the Renaissance, including Dufay, Josquin, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd. Marc-Antoine Charpentier wrote two settings, H.364, H.364 a, for 3 voices and bc (1690s) and H.366 for 3 voices and bc (1690s). Later composers who have set the text include Arvo Pärt, Morten Lauridsen, Frank La Rocca, George Fenton, and Samuel Webbe.