About this blogger:
Richard J. Clark has served since 1989 as Music Director and Organist at Saint Cecilia Church in Boston, Massachusetts. He is also Chapel Organist (Saint Mary’s Chapel) at Boston College. For the Archdiocese of Boston, he directed the Office of Divine Worship Saint Cecilia Schola. His compositions have been performed on four continents.
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"Indeed I might add that although unfamiliar with it myself, the Extraordinary Form expressly reminds us that Mass in either form is not merely a communion meal but a ritual of love, a sacrifice at Calvary, by which, for you and for me, yes, here and now, Jesus Christ lays down his life."
— Most Rev. Philip Egan, Bishop of Portsmouth

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English Setting of Pentecost Sequence | Free Download
published 10 May 2013 by Richard J. Clark

ENI, SANCTE SPIRITUS, the Sequence for Pentecost Sunday is one of the great jewels of the Roman Rite. The Gregorian Chant is exquisite. The text alone is a treasure—short, simple, profound, and transcendent.

The text reminds us of the Holy Spirit’s protection and comfort. The text reminds us of God’s infinite mercy and forgiveness. We are also called to inward transformation, forgiveness, and compassion: “Bend the stubborn heart and will. Melt the frozen. Warm the chill. Guide the steps that go astray.”

What a gem for the Church! What a gem for our sacred Liturgy!

My humble setting uses the translation by Edward Caswall from the Lyra Catholica. Cas­wall was or­dained an An­gli­can priest in 1839 and later was a convert to Roman Catholicism. His translations are known for his adherence to Roman Catholic Doctrine, faithfulness to the original text, and pure poetic rhythm. He is also cited for his translations of the Roman Breviary, published in the Lyrica Catholica. (London, 1849)

Free Download:
PDF • “Sequence for Pentecost Sunday | Veni, Sancte Spiritus” | for Schola, Organ or Piano
Includes separate versions for organ or piano and with optional lower key

COMPOSED THIS SETTING APPROXIMATELY TWENTY years ago or more, perhaps in 1992. I’m not sure. I wrote the piece for tenor Mark Donohoe, a superlative cantor who possesses clarity of diction, humility, and prayerful expression, (and a heart of gold.) Also effective for a schola, this setting has been unusually popular, hopefully reverent, and somewhat worthy of the extraordinary sacred text.