Gustav Mahler set the Latin text to music in Part I of his Symphony No. 8 in E-flat major. The text has been set for chorus and orchestra by Cristóbal Halffter. A motet for women's voices to the text was among the last works of Hector Berlioz. Krzysztof Penderecki wrote a motet for mixed choir, and Paul Hindemith concludes his Concerto for Organ and Orchestra with a Phantasy on "Veni Creator Spiritus." Maurice Duruflé used the chant tune as the basis for his symphonic organ composition "Prélude, Adagio et Choral varié sur le thème du 'Veni Creator'" in 1930. Michael John Trotta's setting  incorporates the first two lines of this hymn along with the text from Veni Sancte Spiritus in a 21st-century setting for choir.
Since the English Reformation in the 16th century, there have been more than fifty English language translations and paraphrases of Veni Creator Spiritus. The version included in the 1662 revision of the Book of Common Prayer retained the Latin title and was written by Bishop John Cosin for the coronation of King Charles I of Great Britain in 1625. The same words have been used at every coronation since, and is sung by the choir after the singing of the Creed, while the sovereign is dressed in a white alb and seated in the Coronation Chair, prior to the Anointing. The first verse is:
Come, Holy Ghost, our souls inspire,
and lighten with celestial fire.
Thou the anointing Spirit art,
who dost thy sevenfold gifts impart.
Another well known version by the poet John Dryden was first published in his 1693 work, Examen Poeticum. It may be sung to the tune "Melita" by John Bacchus Dykes. Dryden's first verse is: