“Veni Creator Spiritus” • with Fortescue’s English Translation

Jeff Ostrowski · December 31, 2017

FROM TODAY’S BULLETIN created by the Priestly Fraternity of Saint Peter in Los Angeles:

Download this special musical score PDF, which includes an excellent (literal) English translation by Fr. Adrian Fortescue (d. 1923):

* * PDF Download • VENI CREATOR SPIRITUS

To accompany, feel free to use the organ accompaniment I composed in 2015. ¹

I created this practice recording to help choirs learn:

You can download it as an Mp3 file or view it on YouTube.

NOTES FROM THIS ARTICLE:

1 Or you can use the NOH version, also available on one page.

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

About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Los Angeles.—(Read full biography).

30 November 2020 • “Case in point”

The Solesmes rhythmic markings, which often contradict the official rhythm, do such damage to the antiphons of the Divine Office that—in my humble opinion—they should be abandoned. (In reality, this will never happen.) But sometimes, they do great damage to the melody of the Graduale Romanum, and I would offer the Offertory for the 1st Sunday of Advent as a “case in point.”

—Jeff Ostrowski

27 November 2020 • ACCENTS

Certain Latin words are constantly mispronounced. For example, Carl Orff’s Carmina Burana is supposed to be pronounced “Cármina” but people frequently pronounce it as “Carmína”—wrong! Another example: Nova organi harmonia is supposed to be pronounced “órgani” but many people erroneously say “orgáni.” A somewhat tricky word is incipit. In Latin, it would be “íncipit” while some believe it has entered the English language as “incípit”—but I’m not convinced…

—Jeff Ostrowski

20 November 2020 • Epiphany Sequence?

A very interesting Missale from 1759AD has a Sequence for the Epiphany, but I don’t know where one could find the musical notation. The Seqence is called: “Prompto Gentes Animo Ferte Nunc Altissimo Honorem Et Gloriam.”

—Jeff Ostrowski

“Church officials frequently asked Tomás Luis de Victoria for his opinion on cathedral appointments because of his fame and knowledge. He was faithful to his position as convent organist even after his professional debut as an organist, and never accepted any extra pay for being a chapelmaster. Held in great esteem, his contract allowed him frequent travel away from the convent, and he attended Palestrina’s funeral (in Rome) in 1594.”

— ‘Dr. Robert Stevenson, 1961 (mod.)’

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About Jeff Ostrowski