Views from the Choir Loft

English Setting of Pentecost Sequence | Free Download

Richard J. Clark · May 10, 2013

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.

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

About Richard J. Clark

Richard J. Clark is the Director of Music of the Archdiocese of Boston and the Cathedral of the Holy Cross.—(Read full biography).

14th Sunday in Ordinary Time (Year C)

Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.

—Jeff Ostrowski

Bugnini’s Statement (6 November 1966)

With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.

—Jeff Ostrowski

Luis Martínez Must Go!

Sevilla Cathedral (entry dated 13 December 1564): The chapter orders Luis Martínez, a cathedral chaplain, to stay away from the choirbook-stand when the rest of the singers gather around it to sing polyphony—the reason being that “he throws the others out of tune.” [Excerpt from “The Life of Father Francisco Guerrero.”]

—Jeff Ostrowski

Pope Pius XII Hymnal?

Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.

—Corpus Christi Watershed

“Hybrid” Chant Notation?

Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.

—Corpus Christi Watershed

Antiphons Don’t Match?

A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).

—Corpus Christi Watershed