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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

“Veni Creator Spiritus” + Organ Accompaniment • with English Translation by Fr. Fortescue

Jeff Ostrowski · May 25, 2021

OU CAN SEE in the FSSP Ordo that a plenary indulgence (under the usual conditions) can be gained by singing or reciting the “Véni Creátor Spíritus” publicly on Pentecost Sunday. But did you realize there are two different versions of this famous hymn? The ancient version is sometimes called the “primitve” or “Pre-Urbanite” version. The other version was created in 1631AD (when Pope Urban VIII modified almost every single hymn in the Breviary). The Pope Urban versions are sometimes called “corrupted” or “Urbanite.” We have spoken about these hymn reforms before—for example, in this 2020 article. Father Fortescue put it bluntly: “In the seventeenth century came the crushing blow which destroyed the beauty of all breviary hymns.” (We will have more to say about Pope Urban below.)

The Corrupted Version: The so-called “corrupt” version came into existence in 1631AD, created by Pope Urban VIII and four Jesuit Latin scholars. You can find it in such books as: Liber Usualis (Desclée, 1961); Liber Antiphonarius (Vatican Press, 1912); Chant Service Book (Achille P. Bragers, 1941); Mass and Vespers (Solesmes Abbey, 1957); and Paroissien Romain (Dom Mocquereau, 1903). I have added an English translation by Father Adrian Fortescue:

*  PDF Download • “Urbanite Version” (singer)
—Found in the 1961 Liber usualis, the 1949 Antiphonale, and so on.

*  PDF Download • “Urbanite Version” (organ accompaniment)
—This matches the version created in 1631AD under Pope Urban VIII.

The Ancient Version: Even though Pope Urban VIII modified all the Breviary hymns in 1631AD, most priests who sang the Divine Office still kept the ancient version. Priests who sang the Divine Office would include Benedictines, Carthusians, and Canons at cathedrals. The ancient version can be found in books such as: Antiphonale Monasticum (Desclée, 1934); Saint Jean de Brébeuf Hymnal (Sophia Institute Press, 2018); Liber Hymnarius (Solesmes Abbey, 2019); The Mundelein Psalter (Illinois Liturgical Institute, 2007); and Hymni De Tempore Et De Sanctis (Solesmes Abbey, 1885). Here it is, with an English translation from page 499 of the Brébeuf hymnal:

*  PDF Download • “Ancient Version” (singer)
—Found in the 1934 Antiphonale Monasticum, the 2019 Liber Hymnarius, and so on.
—Also contained inside “Cantus Varii Ad Benedictionem SS. Sacramenti” (Desclée, 1928).

*  PDF Download • “Ancient Version” (organ accompaniment)
——This matches the ancient version, also called “primitive” or “Pre-Urbanite.”

On 21 May 2015, I created a YouTube and an Mp3 file for the “Urbanite” version, to help amateur choirs. The “Urbanite” version has also been harmonized by the Lemmensinstituut in Belgium, and you can download that as a single-page PDF.

Singing In English: When it comes to “Véni Creátor Spíritus,” you will find many versions printed in the Brébeuf hymnal, including “Come, Holy Ghost” (which is basically a paraphrase translation). The Brébeuf hymnal includes historical versions (from 17th-century Roman Catholic hymnals) as well as translations by Fr. Edward Caswall, Oratorian (d. 1878), a Catholic convert named Robert Campbell of Skerrington (d. 1868), Monsignor Ronald Knox (d. 1957), and Fr. John Fitzpatrick, Oblate of Mary (d. 1929). Here’s a live recording from last Sunday with my treble choir singing an English version—specifically, #502 from the Brébeuf hymnal.

A Popular Tune: In the past, we have spoken about mixing certain tunes with certain texts. Some texts are “neutral”—which basically means they can be used during any season. Other tunes feel “wrong” when used during certain seasons. For example, a melody which is strongly associated with Christmas should never be used during Lent. A melody which is strongly associated with Advent should never be used during Eastertide. I freely admit this is quite a subjective subject and requires a “liturgical sensibility.” In my recent article about Bishop Fulton J. Sheen, I mentioned a pairing in the Saint Mark Catholic Hymnal which I judged contemptible. Readers know that I am slowly assembling “seasonal” Benediction tunes for use at our parish—an idea I shamelessly stole from Achille P. Bragers. You can download the “O Salutaris” for Pentecost, and I think you’ll recognize the melody:

*  PDF Download • “O Salutaris Hostia” (Pentecost)
—“O Saving Victim Opening Wide” Accompaniment with PENTECOST melody.

He Disagrees With Jeff: I personally feel that the “Véni Creátor Spíritus” melody should only be used during the season of Pentecost. I admit I don’t have an “objective” reason for saying this—I just believe the tune is strongly associated with Pentecost. The editor of an 1876 Hymnal clearly disagrees with me! Look at the way he pairs the Pentecost melody to numerous hymns: Hymns for Christmas, Hymns for Easter, Hymns for the Transfiguration, Hymns for the Sacred Heart, and so on:

*  PDF Download • Many Different Texts
—This document shows tons of pairings with the “Véni Creátor Spíritus” melody.

Urbanite Vs. Ancient: Earlier, I mentioned that Pope Urban VIII, assisted by four Jesuit priests, modified most of the Breviary hymns. Father Fortescue wrote quite a nice summary: “In a fatal moment, Pope Urban VIII saw that the hymns do not all conform to the rules of classical prosody. Attempts to reform them had been made before, but so far they had been spared. But Urban VIII was destined to succeed in destroying them. He appointed four Jesuits to reform the hymns, so that they should no longer offend Renaissance ears. The four Jesuits were Famiano Strada, Tarquinio Galluzzi, Mathias Sarbiewski, Girolamo Petrucci. These four, in that faithful obedience to the Holy See which is the glory of their Society, with a patient care that one cannot help admiring, set to work to destroy every hymn in the office. They had no concept of the fact that many of these hymns were written in metre by accent; their lack of understanding those venerable types of Christian poetry is astounding. They could conceive no ideal but that of a school grammar of Augustan Latin. Wherever a line was not as Horace would have written it, it had to go. The period was hopelessly bad for any poetry; these pious Jesuits were true children of their time. So they embarked on that fatal reform whose effect was the ruin of our hymns. They slashed and tinkered, they re-wrote lines and altered words, they changed the sense and finally produced the poor imitations that we still have, in the place of the hymns our fathers sang for over a thousand years. Indeed their confidence in themselves is amazing. They were not ashamed to lay their hands on Sedulius, on Prudentius, on St. Ambrose himself.”

100% of the Hymns? Did Pope Urban VIII destroy 100% of the hymns? No, there were a few he didn’t touch. For instance, he left the hymns of Saint Thomas Aquinas alone. He also did not modify “Ave Maris Stella.” Unfortuntely, most of the hymns were severely damaged. Sometimes, Pope Urban left only a few words of the ancient version. If you are interested in this subject, obtain the Pew Edition of the Brébeuf hymnal. The book is completely dedicated to Saint Jean de Brébeuf, whose companion (Father Isaac Jogues) had a remarkable involvement with Pope Urban VIII. Dr. Aaron James, who earned a double doctorate, had this to say about the Brébeuf hymnal when he reviewed it for the Antiphon Journal:

Dr. Aaron James is correct when he says the Brébeuf team released information which was not previously known—and it was quite exciting!

Really? A New Discovery? The Brébeuf editors were certainly not the first people to discover the inconvenience of the Urbanite reform. Indeed, several pages of the Brébeuf hymnal reproduce terrific examples (such as this one from 1847) showing books through the centuries that printed both versions. Here is something I invite you to read:

The Different Books: Which books contain which version? Well, the Antiphonale Monasticum (Solesmes Abbey, 1934) contains the ancient version—but be careful, because it adds extra notes to the Véni Creátor Spíritus melody. That really confuses people! After Vatican II, the Liturgy of the Hours attempted to restore the ancient hymns and eliminate the versions corrupted by Pope Urban VIII. Generally speaking, they did restore the ancient versions—although sometimes they delete verses or use unfamiliar variants. The PREFACE of the Summit Choirbook (published in 1983 by the Dominican Nuns of the Monastery of Our Lady of the Rosary, with assistance from Erik Routley) seems not to realize that Vatican II restored the Pre-Urbanite hymns, meaning their statement doesn’t make any sense. Perhaps one of our readers can explain what they were trying to say?

A Vexing Puzzle: Twenty-five years after the Second Vatican Council, the Collegeville Hymnal was published. (Dan Craig has reviewed that hymnal, including pictures and the hymn index.) They were supposed to use the ancient text, which—as we have already mentioned—was restored after Vatican II. However, they used the Urbanite text, which you can clearly see. Moreover, they claim the English translation is by Father Caswall, but they mutilated it beyond recognition. I think they were trying to get rid of any instance of “Thee, Thou, Thine”—but the result is quite inelegant. Also, they call the Holy Ghost “highly blest,” which strikes me as theologically incorrect. The Holy Ghost is the source of all blessings. In terms of the notes, they messed up all the neumes (which they would probably claim was done to make it fit English better). On the next page, they include an English version—but they way they fit the English words to the melody is a travesty:

What Are These Differences? Sometimes, the changes done by Pope Urban VIII were quite severe. For example, in Cónditor Alme Síderum (an Advent Hymn), Pope Urban VIII only left one line unaltered—and just twelve words of the original were kept! But when it comes to Veni Creátor Spíritus, the changes only had an impact on four stanzas. The easiest way to see the differences it by turning to page 512 in the Brébeuf hymnal, because both versions are placed side-by-side, making comparison a breeze:

Conclusion: Do these hymn text divergences matter? Yes, because we must have our choir members “singing from the same page.” Did Pope Urban VIII cause problems which still haunt us today? He certainly did. Are these problems insurmountable? They are not insurmountable, but there’s no question they can be annoying sometimes. One possible advantage to the “Pre-Urbanite” version is its lack of elisions, which singers appreciate. Indeed, singers have always struggled with “hypermetric syllables,” and often had to write out the notes in the margin—as shown in this example from the 13th century.

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

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Filed Under: Articles, Featured, PDF Download Tagged With: Monsignor Ronald Knox Traditional Mass, Organ Accompaniments, Pope Urban VIII, Urbanite Hymn Reform, Veni Creator Spiritus Last Updated: June 4, 2021

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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 Michigan. —(Read full biography).

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President’s Corner

    PDF Comparison Chart • “Serious Problems with the Lectionary Translation”
    EARS BEFORE truly revolutionary changes were introduced by the post-conciliar reformers, Evelyn Waugh wrote (on 16 August 1964) to John Cardinal Heenan: “I think that a vociferous minority has imposed itself on the hierarchy and made them believe that a popular demand existed where there was in fact not even a preference.” We ask the kind reader— indeed, we beg you—to realize that those of us born in the 1940s and 1950s had no cognizance of Roman activities during the 1960s and 1970s. We were concerned with making sure we had the day’s bus fare, graduating from high school, taking care of our siblings, learning a trade, getting a job, courting a spouse. We questioned neither the nuns nor the Church.1 Do not believe for one instant any of us were following the liturgical machinations of Cardinal Lercaro or Father Bugnini in real time. Setting The Stage • To never question or resist Church authorities is praiseworthy. On the other hand, when a scandalous situation persists for decades, it must be brought into focus. Our series will do precisely that as we discuss the Lectionary Scandal from a variety of angles. We don’t do this to attack the Catholic Church. Our goal is bringing to light what’s been going on, so it can be fixed once and for all. Our subject is extremely knotty and difficult to navigate. Its complexity helps explain why the situation has persisted for such a long time.2 But if we immediately get “into the weeds” we’ll lose our audience. Therefore, it seems better to jump right in. So today, we’ll explore the legality of selling these texts. A Word On Copyright • Suppose Susie modifies a paragraph by Edgar Allan Poe. That doesn’t mean ipso facto she can assert copyright on it. If Susie takes a picture of a Corvette and uses Photoshop to color the tires blue, that doesn’t mean she henceforth “owns” all Corvettes in America. But when it comes to Responsorial Psalm translations, certain parties have been asserting copyright over them, selling them for a profit, and bullying publishers vis-à-vis hymnals and missals. Increasingly, Catholics are asking whether these translations are truly under copyright—because they are identical (or substantially identical) to other translations.3 Example After Example • Our series will provide copious examples supporting our claims. Sometimes we’ll rely on the readership for assistance, because—as we’ve stressed—our subject’s history couldn’t be more convoluted. There are countless manuscripts (in Greek, Hebrew, and Latin) we don’t have access to, so it would be foolish for us to claim that our observations are somehow the ‘final word’ on anything. Nevertheless, we demand accountability. Catholics in the pews are the ones who paid for all this. We demand to know who specifically made these decisions (which impact every English-speaking Catholic) and why specifically certain decisions were made. The Responsorial Psalms used in America are—broadly speaking—stolen from the hard work of others. In particular, they borrowed heavily from Father Cuthbert Lattey’s 1939 PSALTER TRANSLATION:
    *  PDF Download • COMPARISON CHART —We thank the CCW staff for technical assistance with this graph.
    Analysis • Although certain parties have been selling (!!!) that translation for decades, the chart demonstrates it’s not a candidate for copyright since it “borrows” or “steals” or “rearranges” so much material from other translations, especially the 1939 translation by Father Cuthbert Lattey. What this means in layman’s terms is that individuals have been selling a translation under false pretenses, a translation they don’t own (although they claim to). To make RESTITUTION, all that money will have to be returned. A few years ago, the head of ICEL gave a public speech in which he said they give some of “their” profits to the poor. While almsgiving is a good thing, it cannot justify theft. Our Constant Theme • Our series will be held together by one thread, which will be repeated constantly: “Who was responsible?” Since 1970, the conduct of those who made a profit by selling these sacred texts has been repugnant. Favoritism was shown toward certain entities—and we will document that with written proof. It is absolutely essential going forward that the faithful be told who is making these decisions. Moreover, vague justifications can no longer be accepted. If we’re told they are “making the translations better,” we must demand to know what specifically they’re doing and what specific criteria they’re following. Stay Tuned • If you’re wondering whether we’ll address the forthcoming (allegedly) Lectionary and the so-called ABBEY PSALMS AND CANTICLES, have no fear. We’ll have much to say about both. Please stay tuned. We believe this will end up being the longest series of articles ever submitted to Corpus Christi Watershed. To be continued. ROBERT O’NEILL Former associate of Monsignor Francis “Frank” P. Schmitt at Boys Town in Nebraska JAMES ARNOLD Formerly associated w/ King’s College, Cambridge A convert to the Catholic Church, and distant relative of J. H. Arnold MARIA B. Currently serves as a musician in the Roman Catholic Diocese of Charlotte. Those aware of the situation in her diocese won’t be surprised she chose to withhold her last name.
    1 Even if we’d been able to obtain Roman journals such as NOTITIAE, none of them contained English translations. But such an idea would never have occurred to a high school student or a college student growing up in the 1960s. 2 A number of shell corporations claim to own the various biblical translations mandated for Roman Catholics. They’ve made millions of dollars selling (!) these indulgenced texts. If time permits, we hope to enumerate these various shell corporations and explain: which texts they claim to own; how much they bring in each year; who runs them; and so forth. It would also be good to explore the morality of selling these indulgenced texts for a profit. Furthermore, for the last fifty years these organizations have employed several tactics to manipulate and bully others. If time permits, we will expose those tactics (including written examples). Some of us—who have been working on this problem for three decades—have amassed written documentation we’ll be sharing that demonstrates behavior at best “shady” and at worst criminal. 3 Again, we are not yet examining the morality of selling (!) indulgenced texts to Catholics mandated to use those same translations.
    —Guest Author
    “Music List” • 17th in Ordinary Time (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 17th Sunday in Ordinary Time (27 July 2025). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the the feasts website.
    —Jeff Ostrowski
    Communion • “Ask & You Shall Receive”
    All of the chants for 27 July 2025 have been added to the feasts website, as usual under a convenient “drop down” menu. The COMMUNION ANTIPHON (both text and melody) are exceedingly beautiful and ancient.
    —Jeff Ostrowski

Quick Thoughts

    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

Random Quote

A hymn verse need not be a complete sentence, but it must have completed sense as a recognisable part of the complete sentence, and at each major pause there would be at least a “sense-pause.” Saint Ambrose and the early writers and centonists always kept to this rule. This indicates one of the differences between a poem and a hymn, and by this standard most of the modern hymns and the revisions of old hymns in the Breviary stand condemned.

— Fr. Joseph Connelly

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  • Communion • “Ask & You Shall Receive”
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