Heinrich Schütz (1585-1672): Veni Sancte Spiritus. Sacred concerto
SWV 475, (around 1614)
Heinrich Schütz
born 18 Oct. 1585 in Köstritz
died 16 Nov. 1672 in Dresden
Instrumentation:
for 7 favourite singers and 9 obbligato instruments in 4 choirs with Bc: 2 S, Fg; Bb, 2 Ctto (Vl); 2 T, 3 Trb; Ms (Fl o Ctto), A, T, Cb/Bc
Language:
Latin
Key:
G-Mixolydian
Text source:
Pentecost sequence, attributed to Archbishop Stephen Langton (around 1200)
About the text
This poetic and existentially inspiring sequence, Veni Sancte Spiritus (not to be confused with the hymn Veni Creator spiritus!), was once attributed to Pope Innocent III. However, it was probably written by the English archbishop Stephen Langton (born around 1150, died in 1228 in Slindon, Sussex). A famous English Catholic theologian at the time, Langton was appointed cardinal and later bishop of Canterbury. As a biblical theologian, he is also credited with dividing the books of the Bible into numbered chapters (the refined counting by verses did not follow until the 16th century). Politically, he was involved in the medieval power struggles between ecclesiastical and secular rule, between king and bishop. In constant negotiations between the barons and the king, he rejected any rebellion or violence and favoured the path of negotiation, but took the view that the king must also abide by the law. This made Langton a key figure in the creation of the famous Magna Carta and its political advocate vis-à-vis the Church and the barons. His prayer poem *Veni Sancte Spiritus*, attributed to him, suggests a deep spiritual inner life in this theologically inquisitive and politically engaged man.
The fact that this sequence was attributed to Archbishop Stephen Langton, a famous figure, testifies above all to the esteem in which this text was held by those who were moved by these words and liked to use this sequence for their own reflection.
When many less moving sequences were removed from the official Catholic liturgy after the Council of Trent, only four sequences remained in the Roman Missal of 1570: Victimae paschali laudes, Lauda Sion by Thomas Aquinas, Dies irae from the Mass for the Dead, and Veni Sancte Spiritus. It was assigned to the Pentecost liturgy.
About the composition
This sequence was first set to music in the Middle Ages. The neo-Gregorian melody of the sequence Veni Sancte Spiritus is contained in a manuscript from Cambridge. The manuscript dates from the second half of the 13th century. The melody is recorded in neumes on a five-line stave, instead of the Gregorian four lines.
In music history, this sequence has been set to music less often than Veni creator spiritus. One of the most remarkable settings of this sequence was written by a Protestant composer. Heinrich Schütz composed Veni Sancte Spiritus SWV 475 around 1614, when he returned from his first two-year study trip to Venice, where he was musically influenced by his teacher Giovanni Gabrieli. In Kassel and later in Dresden, Heinrich Schütz impressed his contemporaries with his virtuoso handling of vocal parts as well as obbligato instruments. Different instrumentations expanded the sound effect of his works. Schütz set the Pentecost sequence Veni Sancte Spiritus to music in a polychoral style, meaning that each of the four opening stanzas is performed by its own small choir, consisting of one or two vocalists and alternating instruments. Two theorboes and the organ form the basso continuo.
Listen here (approx. 7 min.)!
Listening companion:
Two sopranos, accompanied by a dulcian (precursor to the bassoon) and the organ's basso continuo, implore the coming of the Spirit twice in a triple rhythm. With the exclamation ‘Et emitte’ – sung twice in succession by the sopranos – a new musical motif is introduced, which, in its extension with ‘caelitus’ (from heaven!), asks for enlightenment. The dulcians (bassoons) insist twice, causing the sopranos to reinforce their request.
As a second choir, two cornets and a bass singer now appear for the second verse. They play the Veni motif from the beginning again. With his ascending and descending coloratura, the singer turns his gaze from above downwards to the needy and disoriented people.
Two tenor voices and three trombones (predecessors of the trombones) form the third choir, which varies the Veni motif (on “consolator”) in gentle harmonies, seeking to bring comfort and refreshment.
In the fourth chorus, an alto and a tenor, together with high instruments, once again vary the Veni motif for life situations such as hardship, indignation and grief. In triple rhythm, the music builds to a climax.
Then the light shines powerfully, a musical foreshadowing of all happiness. All choirs come together in the celebration of light (‘O lux beatissima’). However, the celebration is followed by a plea for inner light: ‘Reple...’.
The instrumentalists rush forward in a dotted rhythm, aware of the abysses that now seem all the more futile after the brief glimmer of fulfilling transcendence.
In double choir, the singers take turns in new pleas against dirt, dryness, wounds, rigidity, coldness and lostness.
At the end, even the instrumentalists wander alone along their hopeless path and stop in their tracks.
Back in joint prayer, everyone unites once again in confidence in the unavailable but fundamental basis of existence: the creative spirit.
With renewed energy, poets, composers and musicians are now looking ahead to what needs to be done and what can be hoped for.
Veni, Sancte Spiritus,
Et emitte caelitus
Lucis tuae radium.
Veni, pater pauperum,
Veni, dator munerum,
Veni, lumen cordium.
Consolator optime,
Dulcis hospes animae,
Dulce refrigerium.
In labore requies,
In aestu temperies,
In fletu solatium.
O lux beatissima,
Reple cordis intima
Tuorum fidelium.
Sine tuo numine
Nihil est in homine,
Nihil est innoxium.
Lava quod est sordidum,
Riga quod est aridum,
Sana quod est saucium.
Flecte quod est rigidum,
Fove quod est frigidum,
Rege quod est devium.
Da tuis fidelibus
In te confidentibus
Sacrum septenarium.
Da virtutis meritum,
Da salutis exitum,
Da perenne gaudium.
Come, holy ghost,
and cast from the havens
Your ray of light.
Come, father of the poor
Come, giver of services
Come, light of the hearts.
Thou, of comforters the best,
Thou, the soul's delightful guest,
the pilgrim's sweet relief.
In labor thou restest,
in heat there's temperance
in sorrow there's comfort.
O holiest light,
Refill the hearts
of all your faithfull ones.
Without thy name
In men there shall be nothing
Innocence shall be none.
Wash what is dirty
Water what is arid,
Heal what is wounded.
Soften what is hard,
Warm what is cold
Guide what is deviant.
Give thy faithfull ones,
who trust in you,
the sacred septenary.
Give us the deserving virtue,
Give us the salvation,
Give us the eternal sword.
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