| "Komm, Heiliger Geist, Herre Gott" | |
|---|---|
| Hymn by Martin Luther | |
 In theErfurt Enchiridion, 1524 (first of three pages) | |
| English | "Come, Holy Spirit, God and Lord" |
| Catalogue | Zahn 7445a–b |
| Text | byMartin Luther |
| Language | German |
| Based on | "Veni Sancte Spiritus, reple tuorum corda fidelium" |
| Published | 1524 (1524) |
| Tuneⓘ | |
"Komm, Heiliger Geist, Herre Gott" ("Come, Holy Ghost, Lord God") is aLutheran hymn forPentecost, with words written byMartin Luther based on "Veni Sancte Spiritus, reple tuorum corda fidelium". The hymn in three stanzas was first published in 1524. For centuries thechorale has been the prominent hymn (Hauptlied) for Pentecost in German-speakingLutheranism. Johann Sebastian Bach used it in several chorale preludes, cantatas and his motetDer Geist hilft unser Schwachheit auf, BWV 226.
The hymn inspired composers from |the Renaissance to contemporary to write chorale preludes and vocal compositions. It has been translated, for example byCatherine Winkworth as "Come, Holy Spirit, God and Lord" in 1855, and has appeared inhymnals of various denominations.
The artistHans Holbein the Younger featured the hymn in the paintingThe Ambassadors.
The first stanza is an anonymous translation of theLatinantiphon for Pentecost "Veni Sancte Spiritus, reple tuorum corda fidelium" (Come,Holy Spirit, fill the hearts of your faithful) from the 11th century. The German version appeared with the current tune inEbersberg inc. 1480. The stanza has nine lines, with the irregularmeter 7.8.8.8.8.8.8.10.8.[1] It opens with requesting the Holy Spirit to come. An acclamation "O Herr" (O Lord) begins the central fifth line, and the thoughts culminate in a double Hallelujah in the last line. The Spirit is asked: "fill with the goodness of your grace / the heart, spirit and mind of your believers, / kindle in them your ardent love!"[2]
Martin Luther added two more stanzas.[3][2] He kept not only the meter and the tune, but also the structure, with acclamations at the beginning of lines 1 and 5, and the final Halleluja.[2] In his stanzas, the group of "deiner Gläubigen" (your believers) is speaking directly, pronouncing "wir" and "uns" ("we" and "us"). Luther alludes to several of theseven gifts of the Holy Spirit, according toIsaiah 11:2:wisdom,understanding,counsel,knowledge,fortitude,piety, andfear of the Lord. He also drew onGalatians 4:6 ("because ye are sons, God hath sent forth the Spirit of his Son into your hearts"),Matthew 23:8-10 ("for one is your Master"), andRomans 8:26 ("the Spirit also helpeth our infirmities").
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In the second stanza, Luther uses the attributes "heiliges Licht, edler Hort" (holy light, precious refuge) and words the request "protect us from strange doctrines / so that we may never look for any teacher / except Jesus in true belief". In the last stanza, the Spirit's "ardent love" and "sweet consolation" are named, asking for help "always to remain joyful and comforted / in your service" and "so that we may bravely struggle / through life and death to reach you!"[2]
The hymn appeared first in 1524 inEyn geystlich Gesangk Buchleyn, (booklet of spiritual song), collected byJohann Walter.[4] The same year it appeared also inEyn Enchiridion in Erfurt,[5] titled "Der gesank Veni sancte spiritus". For centuries thechorale has been the prominent hymn (Hauptlied) forPentecost in German-speakingLutheranism, the number in the current hymnalEvangelisches Gesangbuch (EG) is 125.[3][6]
The hymn was translated to Swedish first in 1567, "Kom Helge Ande Herre Gudh",[7] and has appeared in a 1983 version byBritt G. Hallqvist inDen svenska psalmboken 1986 [sv] (The Swedish 1986 hymnal). The song was translated to English byCatherine Winkworth as "Come, Holy Spirit, God and Lord!", published in the first series ofLyra Germanica in 1855, among others.[5] It has been used in different translations,[1] appearing inhymnals of various denominations.
The anonymous melody,Zahn No. 7445a,[8] is similar to the tune of the hymn "Adesto, sancte spiritus" by Marchetto di Padua (c. 1270). Early settings were byHeinrich Faber, for five voices, and by Johann Walter, for four voices. The tune, which also exists in a slightly different form from the 1530s (Zahn No. 7445b),[8] was set for several parts byArnold von Bruck andSamuel Scheidt.[4]Johann Eccard composed a five-partmotet.[9]
Dieterich Buxtehude wrote achorale prelude, BuxWV 199.[10] Chorale preludes were also written byHeinrich Scheidemann,Nicolaus Hasse [de],Andreas Nicolaus Vetter,Georg Friedrich Kauffmann,Johann Gottfried Walther andJohann Ludwig Krebs.[4]
Johann Sebastian Bach composed two chorale preludes which he made part of his collectionGreat Eighteen Chorale Preludes,Fantasia super Komm, Heiliger Geist, canto fermo in Pedale,BWV 651, andKomm, Heiliger Geist, alio modo a 2 Clav. e Pedale,BWV 652.[11][12]
Bach quoted the tune instrumentally as thecantus firmus in a duet of his firstcantata for PentecostErschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 (1714). He used the first stanza as movement 3 in his cantata for PentecostWer mich liebet, der wird mein Wort halten, BWV 59 (1723 or 1724), and the third stanza as the closing chorale of his funeral motet addressing the Holy Spirit,Der Geist hilft unser Schwachheit auf, BWV 226 (1729).[4]
Other vocal compositions have included two masses on the tune byGeorg Philipp Telemann for four parts and basso continuo, and motets byMoritz Hauptmann,August Eduard Grell [de],Arnold Mendelssohn (1921),Hans Humpert (1932) andRudolf Petzold (1957).[4]
Max Reger quotes the tune in the Pentecost section of his organ piecesSieben Stücke, Op. 145.
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