External links
- Veni Sancte Spiritus: Score and critical report (in German) in the Neue Mozart-Ausgabe
- Free scores by Veni Sancte Spiritus (Mozart) in the Choral Public Domain Library (ChoralWiki)
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| Veni Sancte Spiritus | |
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| Offertorium | |
| by Wolfgang Amadeus Mozart | |
| Key | C major |
| Catalogue | K. 47 |
| Form | Motet |
| Text | Pentecostal antiphon |
| Language | Latin |
| Composed | 1768 |
| Scoring | SATB solo and choir, orchestra |
Veni Sancte Spiritus (Come, Holy Spirit), K. 47, is a sacred composition for choir and orchestra by Wolfgang Amadeus Mozart. He wrote it in Vienna in 1768 at age 12. He scored the work in C major for mixed choir SATB with a few solo lines, orchestra and organ. The text is a Pentecost antiphon, Ad invocandum Spiritum Sanctum (For invoking the Holy Spirit), which begins with the same words as the sequence Veni Sancte Spiritus , but continues differently. Mozart added the subtitle Offertorium, mentioning the intended use during the offertory of a church service. The beginning of the words suggests Pentecost, but the general call for the Holy Spirit seems more likely to have been composed in the fall.
The work is structured in two parts: the text of the antiphon and an extended Alleluia. The first part is in 3
4 time and marked Allegro , the second in 2
4 time and marked Presto. The choir sings most of the time, only occasionally interspersed by solo lines set for two voices. The orchestral parts are for two oboes, two horns, two trumpets, timpani, strings and organ. The music is influenced by his teachers Leopold Mozart, Michael Haydn and Johann Ernst Eberlin.
The Alleluia is sometimes performed independently.
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Pentecost is a Christian holiday which takes place on the 50th day after Easter Sunday. It commemorates the descent of the Holy Spirit upon Mary, mother of Jesus and the Apostles of Jesus while they were in Jerusalem celebrating the Feast of Weeks, as described in the Acts of the Apostles. While the Catholic Church believes the Holy Spirit descended upon Mary, this is not recorded in the New Testament.
The Symphony No. 8 in E-flat major by Gustav Mahler is one of the largest-scale choral works in the classical concert repertoire. As it requires huge instrumental and vocal forces it is frequently called the "Symphony of a Thousand", although the work is normally presented with far fewer than a thousand performers and the composer disapproved of it. The work was composed in a single inspired burst at his Maiernigg villa in southern Austria in the summer of 1906. The last of Mahler's works that was premiered in his lifetime, the symphony was a critical and popular success when he conducted the Munich Philharmonic in its first performance, in Munich, on 12 September 1910.
A sequence is a chant or hymn sung or recited during the liturgical celebration of the Eucharist for many Christian denominations, before the proclamation of the Gospel. By the time of the Council of Trent (1543–1563) there were sequences for many feasts in the Church's year.
Joseph Leopold Eybler was an Austrian composer and contemporary of Wolfgang Amadeus Mozart.
"Victimae paschali laudes" is a sequence prescribed for the Catholic Mass and some liturgical Protestant Eucharistic services on Easter Sunday. It is usually attributed to the 11th-century Wipo of Burgundy, chaplain to Holy Roman Emperor Conrad II, but has also been attributed to Notker Balbulus, Robert II of France, and Adam of St. Victor.
"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 Creator Spiritus" is a traditional Christian hymn believed to have been written by Rabanus Maurus, a ninth-century German monk, teacher, archbishop, and saint. When the original Latin text is used, it is normally sung to a Gregorian Chant tune first known from Kempten Abbey around the year 1000. The hymn has been translated and paraphrased into several languages, and adapted into many musical forms, often as a hymn for Pentecost or for other occasions that focus on the Holy Spirit.
Berliner Messe is a mass setting by Estonian composer Arvo Pärt. Commissioned for the 90th Katholikentag in Berlin in 1990, it was originally scored for SATB soloists and organ. It was first performed at St. Hedwig's Cathedral on 24 May 1990, the Feast of the Ascension, with Paul Hillier conducting the Theatre of Voices. Pärt later (1997) revised the piece for chorus and string orchestra. Pärt uses his tintinnabuli technique throughout, with movements taking many forms within that style—flowing from quietly reverent duets between parts to full chorus proclamations of faith.
Frank La Rocca is an American classical music composer.
Erschallet, ihr Lieder, erklinget, ihr Saiten!, BWV 172, is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the Schlosskirche, the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year.
Fritz Werner was a German choral conductor, church music director, conductor, organist and composer. He founded the Heinrich-Schütz-Chor Heilbronn in 1947 and conducted it until 1973.
Andrew Perkins is a New Zealand composer, choral conductor and teacher. He has had a number of works recorded and performed internationally.
"Nun bitten wir den Heiligen Geist" is a German Christian hymn. The first stanza is a leise from the 13th century which alludes to the Latin sequence Veni Sancte Spiritus for Pentecost. It was widely known, and aside from its Pentecostal origin was also used as a procession song and in sacred plays.
Alan Mauritz Swanson is an American composer and academic who lives in the Netherlands.
"Komm, Heiliger Geist, Herre Gott" is a Lutheran hymn for Pentecost, with words written by Martin Luther based on "Veni Sancte Spiritus, reple tuorum corda fidelium". The hymn in three stanzas was first published in 1524. For centuries the chorale has been the prominent hymn (Hauptlied) for Pentecost in German-speaking Lutheranism. Johann Sebastian Bach used it in several chorale preludes, cantatas and his motet Der Geist hilft unser Schwachheit auf, BWV 226.
"I will sing with the spirit" is a sacred choral composition by John Rutter. The biblical text is taken from 1 Corinthians 14:15, adding to the second half of the verse an often repeated "alleluia". Rutter scored the piece for four vocal parts (SATB) and organ, adding other versions. He composed it in 1994 for the Royal School of Church Music in England.
"Komm, Gott Schöpfer, Heiliger Geist" is a Lutheran hymn for Pentecost, with words written by Martin Luther based on the Latin "Veni Creator Spiritus". The hymn in seven stanzas was first published in 1524. Its hymn tunes are Zahn No. 294, derived from the chant of the Latin hymn, and Zahn No. 295, a later transformation of that melody. The number in the current Protestant hymnal Evangelisches Gesangbuch (EG) is 126.
Marinus Adrianus (Marius) Monnikendam was a Dutch composer, organist, and music critic. He studied at the Amsterdam Conservatory. In 1925 Monnikendam went to Paris and attended Vincent d’Indy's Schola Cantorum. During this time, he published his first works for piano and cello. He then became a lecturer at the Rotterdam Conservatory and the Amsterdam Music Lyceum. Monnikendam composed mostly religious and secular works. He also published books on César Franck and Igor Stravinsky. His Lamentations of Jeremiah for chorus and orchestra, written in 1956 was broadcast by Radio Holland during the funeral services for both former Queen Wilhelmine (1962) and President John F. Kennedy (1963). His most popular work is the Toccata for Organ (1936).
Regina coeli, a Marian antiphon, was set by Wolfgang Amadeus Mozart three times during his time at the Salzburg Cathedral. The best-known composition of the Latin Regina caeli for Eastertide is K. 276, a setting for four soloists, choir and orchestra, probably written in 1779. He wrote two earlier settings, K. 108 and K 127, both for soprano, choir and orchestra.
