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Welcome to Harmonia . . . I’m Angela Mariani.

In recent years, we’ve learned much more about women composers of the past, and music that lay forgotten or undiscovered for decades ­– or even centuries – continues to come to light. Few of these women lived as early as the Middle Ages, but ironically, one of the most studied, discussed, and performed composers of them all is the twelfth-century abbess and mystic Hildegard von Bingen. New recordings of her music continue to be produced, and not just by classical artists. What’s the attraction of this composer who has been embraced by historical performers and New Age musicians alike? This hour on Harmonia, we’ll explore the enduring popularity of Hildegard, and a variety of approaches to her music.

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MUSIC TRACK 
Music from Symphonia Caelestium Revelationum
Medieval Ensemble Alba
Classico 2006 | CLASSCD198
Hildegard von Bingen
Tr. 10 O nobilissima viriditas (4:45)

Hildegard von Bingen’s responsory O nobilissima viriditas, performed by Medieval Ensemble Alba. This responsory on virginity features Hildegard’s signature naturalistic language: [quote] “O noblest green virility rooted in the sun.”

Who was Hildegard of Bingen? She was born in Germany around 1098, in a little village where two rivers flow into the Rhine, a very verdant area dotted with meadows and vineyards. Nearby was a location considered to be a “sacred place,” which hundreds of years before had been the home of a hermit, a Celtic monk named Disibode. By Hildegard’s lifetime, a monastic community and women’s cloister called Disibodenberg was active there.

Back in those days, it was not uncommon for a family to commit one of their children to the religious life, sending the child to be raised in a monastery or convent. For a girl like Hildegard, who seemed to have what we might now call “paranormal” abilities, or some kind of unexplained second sight, her well-off parents probably thought this was the safest place for the youngest of their 10 children. Hildegard was put into the care of Jutta of Spanheim, the abbess of Disibodenberg, who provided her education. Many years later, when Hildegard was around 40, Jutta passed away, and Hildegard took over leadership of the community. 

MUSIC TRACK
Hildegard von Bingen: Ego sum homo
Tiburtina Ensemble & Barbora Kabátková
Ricercar 2017 | RIC383
Hildegard von Bingen
Tr. 4: O quam mirabilis (2:57)

Barbora Kabátková led the Tiburtina Ensemble in Hildegard’s antiphon “O quam mirabilis est.”

Hildegard was a true polymath, excelling in a variety of areas beyond her role as abbess. She was a musician, writer, philosopher, and herbalist. She was greatly respected by her monastic peers, both male and female, and corresponded with politicians and popes. According to Hildegard, her music was inspired by spiritual visions, and recorded faithfully in manuscript by her scribe Volmar. These pieces include one of the earliest works of musical drama, a morality play called Ordo Virtutum. Many of her musical works are collected in a volume called the Symphony of the Harmony of Heavenly Revelations.

MUSIC TRACK
Symphoniae
Sequentia
Deutsche Harmonia Mundi 1989 / CDC 7 49251-2
Hildegard von Bingen
Tr. 8 O virtus Sapientiae (2:50)

“O virtus Sapientiae,” Hildegard von Bingen’s antiphon to the figure of Sapientia, or wisdom, sung by Sequentia, from their album Symphoniae.

Sequentia was one of the first early music ensembles to focus on the music of Hildegard von Bingen. Over the course of twenty years, Sequentia, under the direction of Barbara Thornton and Benjamin Bagby, recorded the complete works of Hildegard, including two recordings of Ordo Virtutum.

One of Barbara Thornton’s goals was to finish this monumental project by the end of Hildegard’s 900th birth year, in 1998. The group reached its goal, but sadly without Barbara; she passed away in late 1998 due to complications from a brain tumor. Sequentia’s recordings were groundbreaking and set the standard for subsequent Hildegard projects.

As interest in Hildegard’s music grew, so did the number of recordings and performance styles. Medieval groups, New Age artists, pop musicians—everyone was interested in Hildegard. We can get a sense of the range of interpretations by listening to some side-by-side. Here are four different interpretations of one of Hildegard’s most famous pieces: “O viridissima virga,” a song of praise to the Virgin in which Mary is compared to a green and flowering branch. We’ll start with Sequentia’s version. 

MUSIC TRACK
Canticles of Ecstasy
Sequentia
BMG Music/Sony Classical 1994 | 886449087136
Hildegard von Bingen
Tr. 11 O viridissima virga (3:51)

Hildegard’s Marian hymn “O viridissima virga,” from the 2021 re-release of Sequentia’s 1994 album Canticles of Ecstasy.

Next-- an instrumental version by William Taylor with the ensemble Canty, followed with a rendition by Hesperus. 

MUSIC TRACK
Wings of Wisdom
Canty
Dorian Sono Luminus 2001 | DOR-93232
Hildegard von Bingen
Tr. 9 O virdissima virga (2:07)

MUSIC TRACK 
Luminous Spirit: Chants of Hildegard von Bingen
Hesperus
KOCH 1998 3-7443-2
Hildegard von Bingen
Tr. 3 O viridissima virga – O Greenest Branch (5:39)

Hesperus combines solo voice and instruments in their rendition of Hildegard’s “O viridissima virga.” They were joined by soprano Rosa Lamoreaux on the 1998 recording Luminous Spirit, which was among several albums celebrating the 900th anniversary of Hildegard’s birth [back] in 1998. Before that we heard an instrumental version of “O viridissima virga” performed by harpist William Taylor with the ensemble Canty.

Finally, let’s dip into the New Age realm with a collaboration between Richard Souther, Emily van Evera, and Sister Germain Fritz.

MUSIC TRACK
Vision: The music of Hildegard von Bingen
Richard Souther, Emily van Evera, & Sister Germaine Fritz
Angel 1994 CDC 7243 5 55246 21
Hildegard von Bingen
Tr. 3 O viridissima virga (3:22)

“Song to the Mother,” or “O viridissima virga” by Hildegard von Bingen with vocalists Emily van Evera and Sister Germain Fritz on Richard Souther’s album Vision: The music of Hildegard von Bingen.

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Theme Music Bed: Ensemble Alcatraz, Danse Royale, Elektra Nonesuch 79240-2 / B000005J0B, T.12: La Prime Estampie Royal 

Early music can mean a lot of things. What does it mean to you? Let us know your thoughts and ideas. Contact us at harmonia early music dot org, where you’ll also find playlists and an archive of past shows.

You’re listening to Harmonia . . .  I’m Angela Mariani. 
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:59 Midpoint Break Music Bed:
O Eterne Deus
Vajra Voices, Karen R. Clark, & Shira Kammen
Music and Arts Programs of America 2016 | CD-1291
Hildegard von Bingen
Tr. 5 Ispariz (arr. S. Kammen for vielle and gothic harp) (Exerpt of 2:36)

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Welcome back…we’re exploring the life and music of Hildegard von Bingen.

Hildegard’s music has gripped the imagination of modern musicians and listeners for decades. Why? Perhaps because her life story itself is fascinating, and the detail with which it was documented is rare for a woman of her time. And a resurgence of the popularity of various kinds of chant occurred during the 1990s along with growing interests in atmospheric, and other meditative music. Hildegard’s soaring melodies and vivid, sensual imagery are as well suited to meditation as religious devotion. You can even hear Hildegard’s music playing in the offices of therapeutic practitioners, which is not surprising because Hildegard herself was viewed a healer and wrote extensively on medical treatment and herblore.

One musician who uses Hildegard’s music in a healing context is singer Norma Gentile. She performs candlelight meditation concerts, which are a mixture of poetry, music, and silence in candlelight, and she draws frequently on Hildegard’s music. At live performances, the audience is often invited to join in, chanting along in the background.

Here is “Spiritus Sanctus,” Hildegard’s hymn to the Holy Spirit, from Norma Gentile’s Meditation Chants recording. 

MUSIC TRACK
Meditation Chants of Hildegard von Bingen
Norma Gentile; live concert recording
SKG Classical 1803-2, 1996 / re-released be Healing Chants 2008
Hildegard von Bingen
Tr. 8 “Holy Spirit bestowing life unto life,” Spiritus sanctus vivifican (4:48)

Spiritus Sanctus by Hildegard von Bingen, sung by Norma Gentile and her concert audience.

Many of Hildegard’s songs are dedicated to saints; one of her favorites was Ursula, who according to legend was martyred with 11,000 companions while on a pilgrimage. Hildegard wrote a great deal of music dedicated to Saint Ursula, and there are many recordings to provide us another good opportunity to sample the range of performance styles that modern musicians have applied to the music of this medieval mystic.

MUSIC TRACK
Triptycha
Psallentes & Henrik Vanden Abeele
Le Bricoleur 2015 | LBCD03DIG
Hildegard von Bingen
Tr. 5 Deus enim rorem (4:00) 

Henrik Vanden Abeele leads Psallentes on Hildegard’s Ursuline lauds antiphon “Deus enim rorem.”

Next, we’ll hear Sequentia’s performance of “Cum vox sanguinis,” which tells the story of Ursula’s martyrdom.

MUSIC TRACK
Voice of the Blood
Sequentia
Sony Classical 1998/2021 | 886449095711
Hildegard von Bingen
Tr. 11 Cum vox sanguinis (actual time 6:23)

Cum vox sanguinis, Hildegard von Bingen’s telling of the martyrdom of St. Ursula, performed by Sequentia.

Our featured recording this hour is the 2022 release Hildegard Portraits by the ensemble Voice. This album celebrates the 10th anniversary of Hildegard’s canonization in the Catholic church, which Pope Benedict finalized in 2012. Singers Emily Burn, Victoria Couper, and Clemmie Franks pair Hildegard songs with contemporary music including the premiere recording of the title work “Hildegard Portraits,” composed for the ensemble in 2021 by Laura Moody.

Let’s start with a piece by Hildegard herself: “O mirum admirandum” an antiphon for St. Disibode.
 
MUSIC TRACK
Hildegard Portraits
Voice
SOMMCD 0652 / 2021
Hildegard von Bingen
Tr. 11 O mirum admirandum (arr. E. Burn, V. Couper, C. Franks and S. Wishart for voice) (2:30)

Hildegard’s “O mirum admirandum” performed by the ensemble Voice on this hour’s featured release, Hildegard Portraits, which came out on SOMM Recordings in 2022.

Laura Moody’s seven-part Hildegard Portraits sets English translations of Hildegard’s personal letters rather than her religious texts, seeking to portray Hildegard [quote] “as a woman who lived and loved.” The text of the fifth excerpt, “O Woman,” defends the virtues of women in response to criticism of Hildegard’s unique religious ceremonies.

MUSIC TRACK
Hildegard Portraits
Voice
SOMMCD 0652 / 2021
Laura Moody
Tr. 15 O Woman (:37)
Tr. 16 Love (1:30)
 
“O Woman” and “Love,” composed by Laura Moody, with text from the letters of Hildegard von Bingen, performed by the ensemble Voice on this hour’s featured release, Hildegard Portraits. Hildegard’s text, as poignant today as in the twelfth century, reads [quote] “O woman, oh what a splendid being you are! For you have set your foundation of the sun and have conquered the world.”
 
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Harmonia is a production of WFIU and part of the educational mission of Indiana University.

Support comes from Early Music America: a national organization that advocates and supports the historical performance of music of the past, the community of artists who create it, and the listeners whose lives are enriched by it. On the web at EarlyMusicAmerica-dot-org.

Additional resources come from the William and Gayle Cook Music Library at the Indiana University Jacobs School of Music.

We welcome your thoughts about any part of this program, or about early music in general. Contact us at harmonia early music dot org. You can follow us on Facebook by searching for Harmonia Early Music.

This edition of Harmonia was written by Angela Mariani and Chelsey Belt.

Thanks to our studio engineer Michael Paskash, and our production team: LuAnn Johnson, Wendy Gillespie, Aaron Cain, and John Bailey. I’m Angela Mariani, inviting you to join us again for the next edition of Harmonia.

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