Bach, broke the norm in the two chorale pr. The first stanza is a leise from the 13th century which alludes to the Latin sequence Veni Sancte Spiritus for Pentecost , it was known, was used beyond its Pentecostal origin as a procession song and in sacred plays. The most prominent form of today's hymn contains three further stanzas written by the Protestant reformer Martin Luther , he recommended the leise in his liturgy to be used in church services.
The request to the Holy Spirit for the right faith most of all suited Luther's theology well. In for Pentecost, he wrote the additional stanzas; this version was published first in Wittenberg the same year as part of Johann Walter's First Wittenberg Hymnal. The song's themes of faith and hope render it appropriate not only for Pentecost but for general occasions and funerals. Luther's chorale is part of many hymnals, sung in several Christian denominations and in translations, it inspired vocal and organ music from the Renaissance to contemporary, including by composers such as Michael Praetorius , Dieterich Buxtehude and Johann Sebastian Bach.
Alternate versions of the hymn, concluding the same medieval first stanza, have appeared in Catholic hymnals, first in by Michael Vehe , a Dominican friar and theologian. His hymn was revised by Maria Luise Thurmair and published in , still part of the Catholic hymnal Gotteslob ; the medieval leise, which became the first stanza, is documented in the 13th century: attributed to the Franciscan Berthold von Regensburg who quoted it in a sermon: The stanza forms a prayer in German to the Holy Spirit, reminiscent of the Latin sequence Veni Sancte Spiritus.
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The concern is "most of all" the "right faith", considering to return "home" after the "exile" of life. In the old German, "ellende" meant exile and was stressed on the second syllable, rhyming with "ende", whereas the modern " Elend " is stressed on the first syllable and translates to "misery"; the focus is, as in the conclusion of Veni Sancte Spiritus, the assistance of the Holy Spirit at the time of death. The leise was known. A tune derived from the chant of the sequence first appeared in Jistebnitz around Beyond the Pentecostal origin, it was used in sacred plays.
The Protestant reformer Martin Luther issued a liturgy for services in , Formula missae et communionis. One aspect was the inclusion of hymns in German, he recommended, for lack of alternatives, three medieval songs to be sung regularly: " Gott sei gelobet und gebenedeiet ", "Ein Kindelein so lobelich" and as the gradual, "Nun bitten wir den Heiligen Geist". The leise had a long tradition, its topics of the right faith, the thought of the time of death, must have appealed to Luther.
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He had mentioned veram fide in an early sermon about the leise, promoted salvation by faith alone. Thoughts of the time of death were with him throughout life, he was not alone. In the tradition of songs about the Holy Spirit, which mention his manifold gifts, three aspects are mentioned: light and comforter.
The three stanzas can be as seen related to Paul's concept of "Glaube, Hoffnung", which he expressed in his First Epistle to the Corinthians , 1 Corinthians Luther ended each stanza with "Kyrieleis", as in the medieval leise, followed its irregular metre. Luther's text in modernised German reads as follows: Luther's text, set to music by Johann Walter , appeared in in Wittenberg as part of Walter's choral hymnal Eyn geystlich Gesangk Buchleyn , sometimes called First Wittenberg Hymnal. In Walter's hymnal, the text was placed in a section for general use.
Luther prescribed the song for regular use between epistle reading and gospel reading in his Deutsche Messe , a liturgy for services in German, included it among his funeral songs in It is part of many hymnals, in translations; the oldest translation of Luther's hymn to Danish appeared in Louis , In , Michael Vehe, a Dominican friar and theologian , used the medieval stanza as a starting point for a further three stanzas that are independent of Luther's. Vehe's three stanzas read as follows: Like Luther, Vehe addresses the Holy Spirit three times, as eternal light and love and goodness; the prayer is firstly for actions pleasing God, secondly for a pure life, not deviating from the right path, to love one's neighbour and remain in peace.
Vehe's version appeared with the chant melody in the first common German Catholic hymnal Gotteslob in , as GL for the Diocese of Limburg. In the main section of the same hymnal, the hymn appeared as GL , again in a different version, with stanzas two to four written in by Maria Luise Thurmair , who closed with a fifth stanza.
In , because the city of Mons was touched by the plague , the authorities decided to organise a procession with the shrine of Waltrude ; the shrine was brought to Casteau. At the same time, the shrine of Vincent Madelgarus, based in Soignies was taken to the same place. A miracle happened and the plague disappeared after this Procession. In , the date was fixed on Trinity Sunday.
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After , the fraternity of Saint George has appeared in the procession; the reconstitution of the combat between Saint George and a Dragon took his place in the feast. The separation between the religious parts of the feast and the non religious began at this time. The procession did not take place during the French revolution , in and during the two world wars; the feast begins from the Saturday before Trinity Sunday to the next Sunday.
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As an eight-day festival with a specific liturgy , it can be called an octave ; the descent of the shrine takes place on the Saturday evening. During a religious ceremony, the shrine is taken down from its Altar; the Priest gives the shrine to the town authorities for the duration of the festival.
A procession with torches begins in the streets of the town. The carriage is accompanied by several guilds. To help the horses with the immense weight, hundreds of people gather behind to push. Local superstition holds that if the Car d'Or doesn't reach the top of the hill in one go, the city will suffer great misfortune.
This happened in , due to the French Revolution, in and in , just prior to the First and Second World Wars. At the end of the week, the shrine is returned to its rightful place in Sainte-Waudru Collegiat Church with great ceremony; this game is played on the Trinity Sunday between and The end of his tail is covered with horses' hairs; the dragon is displaced with the help of the white men. Saint George is protected by the Chinchins; the dragon is helped by the devils.
Each devil is armed with a cow bladder full of air. With this weapon, they knock the public that are placed all around the arena; the dragon attacks Saint George with his tail. The dragon attacks the public. So the public is an important participant in the fight. People try to take the mane of the tail. There are the Leaf men that are covered with real leaves of ivy, they help the dragon by supporting his tail.
The combat is choreographed. Saint George on his horse turns clockwise, and the dragon turns in the other direction.. Saint George tries to kill the dragon with his lance but the lance always breaks on contacting the dragon's skin. Saint George uses a pistol and kills the dragon on the third try.
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At , the participants leave the square, people rush into the arena to find the last lucky manes which have fallen on the ground, and the carillon of Mons rings. A big concert is organised the Friday evening before Trinity on the central square of Mons. Military bands from all over the world play concerts every day in Mons.
A braderie is organised on Monday. Another combat is organised on next Sunday; the combat is reserved for the children. The dragon is lighter than the original; the streets of the centre of the town are a pedestrian zone during the festivities. These streets are full of people listening to music, eating Belgian chips and drinking a lot of Belgian beer and soda.
Veni Creator Spiritus (“Come Creator Spirit”) for Pentecost
When the original Latin text is used, it is sung in Gregorian Chant ; as an invocation of the Holy Spirit , it is sung in the Roman Catholic Church during liturgical celebrations on the feast of Pentecost. It is sung at occasions such as the entrance of Cardinals to the Sistine Chapel when they elect a new pope, as well as at the consecration of bishops, the ordination of priests, when celebrating the sacrament of Confirmation, the dedication of churches, the celebration of synods or councils, the profession of members of religious institutes, other similar solemn events; the hymn is widely used in the Anglican Communion and appears, for example, in the Ordering of Priests and in the Consecration of Bishops in the Book of Common Prayer , It has been translated into several languages.
Since the English Reformation in the 16th century, there have been more than fifty English language translations and paraphrases of Veni Creator Spiritus. The version included in the revision of the Book of Common Prayer compresses the content of the original seven verses to four, but retained the Latin title, it was written by Bishop John Cosin for the coronation of King Charles I of Great Britain in The same words have been used at every coronation since, is sung by the choir after the singing of the Creed, while the sovereign is dressed in a white alb and seated in the Coronation Chair , prior to the Anointing; the first verse is: Come, Holy Ghost , our souls inspire, lighten with celestial fire.
Thou the anointing Spirit art, who dost thy sevenfold gifts impart. Another well-known version by the poet John Dryden was first published in his work, Examen Poeticum, it may be sung to the tune "Melita" by John Bacchus Dykes , excerpts of the Dryden text have been set to the German hymn tune " Lasst uns erfreuen ". Dryden's first verse is: Creator Spirit, by whose aid The world's foundations first were laid, visit every pious mind. I'll write additional commentary else where so as not to disrupt the lovely format of this thread. I have family in that area, though I live overseas.
Thanked by 2 32ContraBombarde cesarfranck. Anne - Bach.
Gamba June 9 Posts: Chris Garton-Zavesky June 10 Posts: 3, Madame, I guess you've answered my question, but I'll ask it anyway: doesn't it strike you as gilding the lilly to include both Come Holy Ghost and Veni Creator Spiritus? We repeat things too at the EF Mass I attend, sometimes even immediately: e. At this parish's offertory there's enough time to do that. Modern liturgical purists prefer to eliminate "redundancies", I suppose. Aristotle Esguerra June 10 Posts: 1, JacobFlaherty June 10 Posts: Joseph Michael June 10 Posts: The congregation joined in the singing of all the even verses.
Francis de Sales Oratory, St. CGZ - about redundancy it doesn't bother me. Choir sang the Couturier Veni Creator Spiritus because Thanked by 2 CharlesW Incardination. Bach actually by Georg Philipp Telemann , the tune is used exactly in its form. Elsewhere, in Choralgesange , No. Witt No. Bach treats the melody in two Organ movements: N. The similarity of its Bass to that of the four-part setting in the Choralgesange suggests that they were written in close association. Spitta finds the movement out of place among Preludes in which Bach undertook to treat the Pedal uniformly obbligato throughout.
He regards it as the fragment of a movement conceived on a much bigger scale - in fact, an introduction to No.