Please turn your hymnals to number 121 and join with the clarinets in, “Come, Holy Ghost”.
First Line: Come, Holy Ghost
Meter: 6 6 4, 6 6 6 4.
Tempo: In moderate time
Music: The Hallelujah, 1849
Arr. by John Roberts, 1822-77
Text: Based on Veni, Sancte Spiritus
Tr. Ray Palmer, 1808-87
Clarinet Arrangement: 121-ComeHolyGhost
Veni Sancte Spiritus, sometimes called the “Golden Sequence,” is a sequence prescribed in the Roman Liturgy for the Masses of Pentecost and 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 Sancte Spiritus is one of only four medieval Sequences which were preserved in the Missale Romanum published in 1570 following the Council of Trent (1545–63). Before Trent many feasts had their own sequences. It is still sung today, having survived the liturgical changes following the Second Vatican Council.
It has been set to music by a number of composers, especially during the Renaissance, including Dufay, Josquin, Willaert, Palestrina, John Dunstaple, Lassus, Victoria, and Byrd. Later composers who have set the text include Arvo Pärt, Morten Lauridsen, Frank La Rocca and most familiarly to Catholics, Samuel Webbe.
I returned to a bit of Hymnprovisation, feeling I wasn’t challenging myself enough lately, I hope you do not mind. This time I deployed the Bass Clarinet for the solo on the second verse.
While this arrangement isn’t ancient, the roots of the hymn are quite old. The author of the music appears to be another Welshman.
John Roberts used Ieuan Gwyllt as his bardic name. See also Ieuan Gwyllt, 1822-1877.