1. Veni, Creator Spiritus, mentes tuorum visita, imple superna gratia quae tu creasti pectora. 1. Come, O Creator Spirit, come, and make within our heart thy home; to us thy grace celestial give, who of thy breathing move and live. 2. Qui diceris Paraclitus, altissimi donum Dei, fons vivus, ignis, caritas, et spiritalis unctio. 2. O Comforter, that name is thine, of God most high the gift divine; the well of life, the fire of love, our souls' anointing from above. 3. Tu, septiformis munere, digitus paternae dexterae, Tu rite promissum Patris, sermone ditans guttura. 3. Thou dost appear in form of seven fold gift the sign of God's almighty power; the Father's promise, making rich with saving truth our earthly speech. 4. Accende lumen sensibus: infunde amorem cordibus: infirma nostri corporis virtute firmans perpeti. 4. Our senses with thy light inflame, our hearts to heavenly love reclaim; our bodies' poor infirmity 5. Hostem repellas longius, pacemque dones protinus: ductore sic te praevio vitemus omne noxium. 5. Our mortal foes afar repel, grant us henceforth in peace to dwell; and so to us, with thee for guide, no ill shall come, no harm betide. 6. Per te sciamus da Patrem, noscamus atque Filium; Teque utriusque Spiritum credamus omni tempore. 6. May we by thee the Father learn, and know the Son, and thee discern, who art of both; and thus adore in perfect faith for evermore. 7. Deo Patri sit gloria, et Filio, qui a mortuis surrexit, ac Paraclito, in saeculorum saecula.
It should be noyted that, among the best know, Catholic hymns in Latin, this one is one of the most inntersting since from a theologic point of view, it clearly address a quite complex catholic dogm that was criticized from the beginning by Arius, who was condemened by the Coucil of Nicaea, anf then by the Orthodox church. From a purely musical pôint of view, the original tone is quite interesting tsince it is clearly inspired by the major scale, but has a modal cadenza with a minor seveth. It could be considered as a poorly visited example of G mode (majot with minor Seventh). Of course, the French baroque normative style tends to blur this modal flavour (and the result is indeed outstanding ...)
Daily meditation start here 🙏🏾Veni creator spiritus ✨🪐indeed grandly creative and magnificent … merci E.V🐬
1. Veni, Creator Spiritus,
mentes tuorum visita,
imple superna gratia
quae tu creasti pectora.
1. Come, O Creator Spirit, come,
and make within our heart thy home;
to us thy grace celestial give,
who of thy breathing move and live.
2. Qui diceris Paraclitus,
altissimi donum Dei,
fons vivus, ignis, caritas,
et spiritalis unctio.
2. O Comforter, that name is thine,
of God most high the gift divine;
the well of life, the fire of love,
our souls' anointing from above.
3. Tu, septiformis munere,
digitus paternae dexterae,
Tu rite promissum Patris,
sermone ditans guttura.
3. Thou dost appear in form of seven fold gift
the sign of God's almighty power;
the Father's promise, making rich
with saving truth our earthly speech.
4. Accende lumen sensibus:
infunde amorem cordibus:
infirma nostri corporis
virtute firmans perpeti.
4. Our senses with thy light inflame,
our hearts to heavenly love reclaim;
our bodies' poor infirmity
5. Hostem repellas longius,
pacemque dones protinus:
ductore sic te praevio
vitemus omne noxium.
5. Our mortal foes afar repel,
grant us henceforth in peace to dwell;
and so to us, with thee for guide,
no ill shall come, no harm betide.
6. Per te sciamus da Patrem,
noscamus atque Filium;
Teque utriusque Spiritum
credamus omni tempore.
6. May we by thee the Father learn,
and know the Son, and thee discern,
who art of both; and thus adore
in perfect faith for evermore.
7. Deo Patri sit gloria,
et Filio, qui a mortuis
surrexit, ac Paraclito,
in saeculorum saecula.
It should be noyted that, among the best know, Catholic hymns in Latin, this one is one of the most inntersting since from a theologic point of view, it clearly address a quite complex catholic dogm that was criticized from the beginning by Arius, who was condemened by the Coucil of Nicaea, anf then by the Orthodox church. From a purely musical pôint of view, the original tone is quite interesting tsince it is clearly inspired by the major scale, but has a modal cadenza with a minor seveth. It could be considered as a poorly visited example of G mode (majot with minor Seventh). Of course, the French baroque normative style tends to blur this modal flavour (and the result is indeed outstanding ...)
Wonderful piece.
Lovely.
💖💖
🙏💕❤😇
👍🏼👍🏼👍🏼👍🏼🌹🌹🌹🌹🌹🌹🌹