Veni Creator Spiritus
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The composition is structured in seven sections, corresponding to the stanzas of the Gregorian hymn.
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The composition is structured in seven sections, corresponding to the stanzas of the Gregorian hymn. The odd-numbered sections are conceived for a vocal ensemble (soloists or choir) of four, five and eight voices; the even-numbered stanzas, on the other hand, are intended for a solo voice or a single choir section with the accompaniment of four instruments (violas da gamba or trombones). It is possible to double the vocal parts with other instruments, in deference to ancient usage; this choice may be made for aesthetic purposes or out of necessity. An entirely vocal performance is also possible, replacing sections II, IV, VI with the corresponding stanzas in Gregorian chant. The piece, composed in 2007 for the choir and instrumentalists of the Como Conservatory, is inspired by the masterpieces of the great Flemish polyphonic school and recalls in particular certain contrapuntal techniques practised by Pierre de la Rue, Heinrich Isaac and Adrian Willaert. The choice to compose on a Gregorian cantus firmus fulfils several didactic and academic purposes: first and foremost, there is the need to assign to the youngest singers a very simple part that, presenting no particular difficulty in reading, favours the care of intonation and vocality. For the more experienced singers, on the other hand, the florid parts are intended. Instrumentalists doubling the vocal parts will have to pay particular attention to the text, a safe and indispensable guide for the correct choice of articulations and phrasing. To enhance the harmonic characteristics of the hymn, the use of mesotonic temperament would be effective.
Antonio Eros Negri
Mixed voice choir
Paper score, PDF score