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 poetically, existentially and religiously appealing sequence Veni Sancte Spiritus (not to be confused with the hymn Veni Creator spiritus) was once attributed to Pope Innocent III. Less unlikely is the authorship of the English Archbishop Stephen Langton (born around 1150, died 1228 in Slindon, Sussex). A famous English Catholic theologian at the time, Langton was made a cardinal and later became Bishop of Cunterbury. As a biblical theologian, he is credited with the division of the books of the Bible into numbered chapters (the refined counting by verse only followed in 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 against the church and barons. His prayer poem Veni Sancte Spiritus, which is attributed to him, suggests a deep inner life of this theologically enquiring and politically committed man.
However, the fact that this very poetic sequence was attributed to Archbishop Stephan Langton as a famous person testifies above all to the appreciation of this text by those who were touched by these words and liked to use this sequence for their own contemplation.
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: the Victimae paschali laudes, the Lauda Sion by Thomas Aquinas, the Dies irae of 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 staff, instead of the Gregorian staff on four lines.
In contrast to Veni creator spiritus, this sequence has been set to music less frequently in the history of music. One of the most remarkable settings of this sequence is by a Protestant composer. Heinrich Schütz probably composed Veni Sancte Spiritus SWV 475 around 1614, when Schütz had just returned from his first two-year study trip to Venice, where he was greatly influenced musically by his teacher Giovanni Gabrieli. In Kassel and later in Dresden, Heinrich Schütz impressed his contemporaries with his virtuoso handling of both vocal parts and obbligato instruments. Different instrumentations enhanced the tonal effect of his works. For example, Schütz set the Pentecost sequence Veni Sancte Spiritus to polychoral music with four choirs. Each verse has its own musicians, consisting of one or two vocalists and instruments. 2 theorbos and the organ form the basso continuo.
Listen here (approx. 7 min.)!
Audio companion:
2 sopranos, accompanied by a dulcian (forerunner of the bassoon) and the b.c. of the organ, plead twice in a triple rhythm for the coming of the Spirit. With the exclamation emitte - sung twice in succession by the sopranos - a new musical motif is added which, in the extension with ‘caelitus’ (from heaven!), asks for the spiritual light to radiate to us from above. The double insistence of the dulcian (bassoon) has the effect that the sopranos musically affirm their idea of the widest possible radiance in a broad, pleading arc.
Two cornetts and a bass singer now appear as the second choir for the second verse and once again play the Veni motif from the beginning. However, the singer then turns his gaze from above downwards to the poor, the needy and hearts seeking guidance.
Two tenor voices and three trombones (predecessors of the trombones) form the third choir, which varies the Veni motif (on ‘consolator’) in mild harmonies and creates an impression of consolation, sweetness and refreshment.
An alto and a tenor together with high instruments form the fourth choir and once again vary the Veni motif for life situations in labour, anger and grief. In a rhythmic triple rhythm, the music pushes towards fulfilment.
Then the light bursts forth powerfully, a momentary radiance of all happiness. All the choirs come together in the celebration of light (‘O lux beatissima’). But the poet and composer immediately realise that everything is still missing. The request follows immediately to be refuelled (‘Reple...’).
The instrumentalists storm ahead in a dotted rhythm, aware of the abysses that now seem all the more empty after the brief glimmer of a fulfilling transcendence.
In a double choir, the singers alternate with each other in a new prayer of supplication. Dirt, dryness, wounds, rigidity, coldness and forlornness, both physically and mentally, become the starting points for new hope for change.
In the end, even the instrumentalists wander alone along their hopeless path and stop their walk.
Back in common prayer of supplication, everyone unites once again in need and common confidence in the unavailable but sustaining basis of existence of the creative spirit.
With new energy, poets, composers and musicians are now looking ahead to what is to be done, what is to be hoped for and what will bring lasting joy.
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.
Note for music lovers:
Erstelle deine eigene Website mit Webador