Hildegard von Bingen – 900th Anniversary of the World’s First Woman Composer Hildegard von Bingen was born to Heldebert and Mechtild on September 17, 1098, in Bemersheim, in a region near Alzey, Rheinhessen. The tenth child born to parents of German nobility, she was immediately placed as “a tithe” to the service of the church, a customary practice in the medieval period.
At the tender age of three, she began to have “visions of luminous objects.” Realizing this was a unique but controversial ability, she kept the gift hidden for years. When she turned eight, as promised by her parents, she was sent to a recluse named Jutta of Spanheim to obtain her novice training. Jutta was also born into a wealthy, prominent family, and by all accounts was a great beauty who spurned all worldly temptations by becoming an anchoress. She occupied a small, sparse cell at the Benedictine monastery of Disibodenberg and was a tremendous influence over the impressionable child.
During this time, Hildegard learned to read the Psalter in Latin. Though her grasp of the grammatical intricacies of the language was never complete—she always had secretaries to help her write down her visions—she had a good intuitive understanding, constructing complicated sentences fraught with multiple meanings. During her training period she was also exposed to many musical religious services, music which formed the basis for her composing. Once her training was complete, Hildegard took the veil at the tender age of 15. At 38, after Jutta’s death, she was elected the head of the convent.
During all the years of training and commitment to the church, her visions continued to intensify. In 1141, Hildegard had a vision that was to change her entire life. During this vision, she accounts that God gave her instant understanding of the meaning of the religious texts, commanding her to write down everything she observed in her visions. She wrote, “And it came to pass...when I was 42 years and 7 months old, that the heavens were opened and a blinding light of exceptional brilliance flowed through my entire brain. And so it kindled my whole heart and breast like a flame, not burning but warming, and suddenly I understood the meaning of expositions of the books. The result was a book called Scivias, a work that took ten years to write and included 26 revelations.
In order for her visions to have credibility, Hildegard sought the support of Pope Eugenius (1145-53) to approve her writings. With his blessing and the book’s publication, her fame spread throughout Germany and much of Europe. In 1150, Hildegard moved the convent to Bingen on the banks of the Rhine. She later founded a convent across the River at Eibingen. These years were tremendously productive, writing music and texts to her songs, which mostly took the form of plainchant honoring various saints and the Virgin Mary. She also wrote antiphons for feast and holidays.
Hildegard von Bingen’s pioneering spirit made her a true feminist in every sense of the word. She had a monk for a secretary, convinced a Pope to sanction her writings, became a famous writer and composer, and led or founded two convents.As Hildegard undergoes a revival in 1998 as part of the 900th anniversary of her birth, much of her music is now in print. It is published by Hildegard Publishing Company in Bryn Mawr, Pennsylvania and is beautifully edited and researched by Marianne Richert Pfau. The Early Music group Sequentia has recorded all of her music as part of this anniversary; their recording of Canticles of Ecstasy has received fabulous reviews.
Hildegard’s music sounds like what most of us would imagine angels singing to be like. Writing in plainchant style, her hymns and sequences are of extraordinary beauty and grace. It is generally believed today that Hildegard suffered from Migraine and that her visions were a result of this debilitating condition. It is to her credit that she was able to turn this pain into such brilliant creations.
We randomly selected four collections of chants for review. All are taken from Symphonia armonie celestium revelationum. They are edited and translated by Marianne Richert Pfau and are excellent examples of Hildegard’s radiant plainsong style. Each antiphon can be purchased separately for $1.10 in quantities of 10 or more.
Chants for the Blessed Virgin Mary: Mother and Son, Volume II, Hildegard, 09702, Latin text, unison, a cappella. These sixteen chants for the Virgin Mary hold a curious position in the hierarchy of a song cycle. Chants in honor of Mary are usually second, with chants to Christ first. These are remarkable in that Hildegard places Mary as part of the Trinity, while Christ appears as Mary’s son. The texts for this collection can be found in Scivias. The musical writing is florid and is the true embodiment of joy. Difficulty rating 3. $26.25
Chants for Patron Saints, Volume V, Hildegard, 09705, Latin text, unison, a cappella. This volume is dedicated to six saints of historic significance in central Germany in the middle ages. The number of songs written for each saint determines their importance in Hildegard’s life. In this collection, she includes antiphons, responsories, and sequences. Difficulty rating 3. $24.50
Chants for Virgins, Widows, and Innocents, Volume VI, Hildegard, 09706, Latin text, unison, a cappella. This volume contains one antiphon, two responsories, and two symphonias, a form rarely used in this genre. The quest for a virtuous life dominates this music as the text appeals for divine good. Difficulty rating 3. $8.75
Chants for Ecclesia, Volume VIII, Hildegard, 09708, Latin text, unison, a cappella. In these four brief antiphons, Hildegard returns to her concept of perceiving the church as a female figure. She sees Ecclesia as a shining jewel. The text painting is brilliant in tone. Difficulty rating 3. $7.00
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New Releases ~ Sacred SATB Voices ~ Sacred
I Will Sing and Raise a Psalm, by Libby Larsen, English text, Oxford, 386043-0, SATB and organ. Filled with sonorous harmonies composed over a minimalist accompaniment, the text by St. Francis of Assisi is brilliantly set. Filled with warm harmonies and elegant counterpoint, the piece reflects a mature, fully developed compositional style. Difficulty rating 4. $1.85
Magnificat in B Flat, by Johann Pachelbel, Latin/English text, Mark Foster, MF 2103 F, SATB and organ (opt. orchestra). Known for his organ writing, Pachelbel also composed numerous choral works, including thirteen Magnificats. This mature short work is in the concertato style, with crossing voice parts and brilliant harmonies. Difficulty rating 3. $1.60
Sing Unto the Lord, by Jonathan Willcocks, English text, Lorenz, 10/2095LA, SATB and keyboard. Ascending phrases with simple counterpoint set over a florid, bell-like accompaniment are hallmarks of this piece. The piece moves out of unisons to bright harmonies that are easy to sing. Difficulty rating 3. $1.40
Swing Low, Sweet Chariot, arr. John Brian McAnuff, English text, Oxford, 86093-7, SATB and organ. This arrangement is unusual in that the compositional style is less folk-like and more contemporary in nature. Some surprising harmonies accompany this strophic, simple harmonic setting. The conclusion is surprising, yet quite effective. Difficulty rating 2. $1.20
Three Motets, by Pierre Villette, Latin text, Presser, O quam amabilis es, 362-03408, Jesu, dulcis memoria, 362-03409, Panis angelicus, 362-03410, SATB a cappella. These brilliant motets are a fabulous addition to the contemporary cathedral repertory. Luscious harmonies with flowing melodic lines that are set contrapuntally dominate the musical fabric filled with challenging intervals. These pieces are an absolute must for the accomplished church choir. Difficulty rating 4. $1.25
Veni Sancte Spiritus, by John Rutter, Latin text, Oxford, 350490-1, SATB and organ. After a compositional rest, John Rutter has thankfully returned to composition with a new, more terse voice. Set to the medieval Pentecostal poem, ‘Come, thou Holy Paraclete”, in 9/8 meter, the piece is dominated by changing meters and challenging harmonies. Difficulty rating 4. $1.60
Verleih’ uns Frieden, by Felix Mendelssohn, German/Latin/English text, ECS, 5212, SATB. This is an excellent edition. Difficulty rating 3. $1.60
Treble Voices ~ Sacred
A Song for the Sabbath, by Helen Kemp, English text, Lorenz, CGA818, Unison/two part, piano and tambourine. Structured canonically, this charming piece has bright harmonies set to a text from Psalm 92:1-4. The piece is perfect for large forces at a festival or for a celebratory service. Difficulty rating 2. $1.30
Ave Maria, by J.S. Bach/Gounod, arr. Robert Summer, Latin text, Plymouth, PJMS-201, SSAA and organ. Warm, rich harmonies dominate the arrangement of this famous solo song. The harmonic structure of the voice parts carefully follows the harmonies in the accompaniment. Sensitive and well thought out, the piece is a real winner. Difficulty rating 3. $1.35Jubilate Deo, by Michael Braz, English text, Plymouth, HL-257, SSA and piano. This brilliant sounding piece is a large choral fanfare. The anthem has a number of key changes, and uses a lot of dominant-tonic relationships. The celebratory text is adapted from Psalms 98, 100, and 150. Difficulty rating 3. $1.35
I Will Rejoice in the Lord, by Georg Philipp Telemann, English text, Lorenz, CGA817, SA and keyboard. This simple Baroque piece is a great addition to the repertory. The piece contains melismatic phrases that are vocally developing. The canonic phrase shapes are easy to learn, making the piece a perfect selection for the intermediate choir. Difficulty rating 2. $1.20
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New Releases ~ Secular SATB Voices ~ Secular
Choral Music, Volume 1, by Fanny Mendelssohn Hensel, German text, Hildegard, 09750, SATB, a cappella. This collection of music includes Ariel, Wer will mir wehren zu singen, Morgenwanderung, and Schilflied. Each piece is written homophonically and filled with rich, romantic harmonies. This collection is indicative of Hensel’s powerful compositional style. Difficulty rating 3. $12.50 (Each piece can be purchased separately in quantities of 10 or more.)Hymn to Music, by Dudley Buck, English text, Walton, WLC-1009, SATB, a cappella. First published in 1905, this beautiful hymn is set to a translated German text by Charles J. Sprague. Part of an extensive series from the Library of Congress, this turn of the century piece begins homophonically. The simple opening quickly changes to powerful contrapuntal sections which contain ringing harmonies that sound both prayerful and fanfare-like. The piece requires a large chorus that can break into eight parts. It is fine example of American composition. Difficulty rating 4. $1.50
Treble Voices ~ Secular
Mathematical Zoo, by Joseph Pinson, English text, Plymouth, HL-544, SA and piano. This clever extended work, set to texts by the composer, is great fun. It was meant to vocally emulate the Carnival of the Animals by Camille Saint-Säens. The titles of the seven movements; Prologue, Square Bear, Minus Bird, Straight Lion, Kangaroot, Hypotemoose, and Epilogue, indicates the work’s clever structure. The piece is an excellent addition to the catalogue of treble extended works. Difficulty rating 3. $1.50
Ring the Bells, by Libby Larsen, English text, Oxford, 386153-4, SSA and piano, opt. woodwind quintet. This jubilant piece was commissioned for the Breck School Class of 2004. Written mostly in unison with some simple imitative vocal parts, the melody is set over an accompaniment of repeated motivic materials. Difficulty rating 3. $1.95
Today, This Spring, by Libby Larsen, English text, Oxford, 386040-6, SA and piano. Scored beautifully for treble voices, the minimalist passages in the piano support the beautiful harmonies in the voice parts. Another wonderful extended work for treble voices, the piece was commissioned by the Bel Canto Voices in 1995. In three movements, Today, this Spring, She Piped for Us, and If I Can Stop One Heart from Breaking, they are filled with rhythmic and intervalic challenges. Difficulty rating 5. $2.50
The Piper and the Child, by Michael Braz, English text, Plymouth, PJMS-500, SA and piano. This setting of the famous Blake poem from Songs of Innocence is filled with intervalic challenges. It is beautifully written over a pipe-like accompaniment that is supportive, but independent of the voice parts. The various key changes are tremendously effective, with the ending vocal part sounding Pan’s calling to us. This is a must for the accomplished children’s chorus or women’s ensemble. Difficulty rating 4. $1.35
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