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Arianna Savall, Petter Udland Johansen Hildegard Von Bingen

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Arianna Savall, Petter Udland Johansen Hildegard Von Bingen Arianna Savall, Petter Udland Johansen Carpe Diem Records Hildegard von Bingen: Vox Cosmica 1. Hildegard von Bingen (1098 – 1179) Responsorium: O tu suavissima virga 15:14 2. Hildegard von Bingen Antiphona: Karitas habundat 5:57 3. Petter Udland Johansen (*1971) Meditation I 4:54 4. Petrus Abaelardus (1079 – 1142) Sequentia: Planctus David 16:00 5. Petter Udland Johansen Meditation II 4:09 6. Hildegard von Bingen Responsorium: Ave Maria 10:26 7. Petter Udland Johansen Meditation III 4:33 8. Hildegard von Bingen Antiphona: O quam mirabilis 7:57 9. Petter Udland Johansen Meditation IV 4:27 10. Hildegard von Bingen Antiphona: O virtus Sapientie 6:21 Total time 78:18 Hirundo Maris Arianna Savall – Voice, Medieval Harp, Italian Triple Harp, Lyra, Tibetan Singing Bowl Petter Udland Johansen – Voice, Hardingfele, Lyra, Fiddle, Monochord Andreas Spindler – Flutes, Fiddle, Romain Bells, Colascione, Tromba Marina, Voice Anke Spindler – Nyckelharpa, Fiddles, Viola da Gamba, Voice David Mayoral – Santur, Percussion, Romain Bells, Voice (musical arrangements: A. Savall and P. U. Johansen) 3 EN HILDEGARD of BingEN gave us the image of Man in the Cosmos (Der Mensch im VOX Cosmica Kosmos), a concept of the microcosm (humanity) and the macrocosm (universe), in which humanity is endowed with “In all things Love abounds, the capacity to love and create life. This message is still very from the deepest depths relevant today, and even though 916 years have passed since to the starry heavens, the birth of Hildegard of Bingen in the summer of 1098, her for tenderly she gave work continues to arouse great interest and her great legacy the kiss of peace of wisdom is admired and studied all over the world. to the King most high.” This exceptional medieval woman, Hildegard of Bingen, was So begins Hildegard of Bingen’s “Caritas abundat”, a cos- born in Bermersheim in the summer of 1098, the tenth child mic chant containing the essence of Hildegard’s vision in of a noble family. She was vowed and sent by her parents which the universe created by God is all love and beauty. to the double monastery of Disibodenberg, an important Every living thing – human beings, animals and nature, the Benedictine monastery and cultural centre in that part of elements, the stars and the earth on which we live, is im- the Rhineland. Under the guidance of its abbess, Jutta von bued with the infinite love which is our source of life and Sponheim, she took her first steps on the spiritual path and light. But humanity bears the great responsibility of caring in the art of music. When Jutta died in 1136, Hildegard was for and cherishing this magnificent creation. Man is the unanimously elected abbess by her fellow Benedictine nuns. receiver of all energy, both earthly and cosmic, and he has When she was 41 years and 7 months old, she had an intense the power to transform energy. When on its true path, the vision after which she fell sick and was confined to her bed human spirit can make the stars sing. Small as we are, our for several days. During that vision of the “living Light” (it conscience makes us great and our responsibility is no less was not her first, as she had experienced visions in child- great! We have within us the power to do good or evil, and if hood in which she had heard voices and seen lights), she man fails to respect the order of creation, the universe and was commanded to write down everything she observed the cosmos, it can all turn against him. and pass on all that she knew. It was then, aged 42 years, that she understood that she was called to write an account of In the 12th century, long before Leonardo da Vinci portray- her heaven-sent visions and music. Thanks to the assistan- ed man as the centre of the universe, Hildegard of Bingen ce of her trusted secretary, the Benedictine monk Volmar, 4 EN as well as that of her beloved protege Richardis von Stade, From the time that she arrived at Rupertsberg she compo- she embarked on her first book Scivias (“Know the Ways of sed a large body of liturgical plainchant for her nuns (sung the Lord”). In 1148 she was moved to establish the first con- prayers are doubly effective), and her collection Symphonia vent for Benedictine nuns. She founded two monasteries, armoniae caelestium revelationum (“Symphony of the Harmo- the first (in which she was to live for the rest of her life) at ny of Celestial Revelations”) contains 78 chants of her own Rupertsberg, and, some years later a second monastery at composition, as well as a morality play entitled Ordo Virtu- Eibingen. Although she had her detractors, especially in the tum (“Play of Virtues”), a dialogue between the soul, the de- male-dominated world of Disibodenberg, she fought tire- vil and the human virtues. lessly to gain independence from the authority of the abbot for herself and her faithful followers, with whom she embar- After a long and intensely fulfilling life, Hildegard of Bingen ked on her new adventure. died on 17th September, 1179, at what was, for those times, the surprisingly ripe old age of 81 years. She left an immense Her visions and writings were endorsed by the great spiritu- legacy of books, letters and music, which continue to move al teacher Bernard of Clairvaux, and Pope Eugene III also and astonish readers today. She, who helped so many others, encouraged the humble, creative Benedictine nun to conti- was always torn between heaven and earth, in constant dia- nue to pen her extraordinary writings. In her own time, Hil- logue with the body and the soul, with man and God. A wise degard of Bingen came to inspire the love and veneration counsellor, her practical, critical and scholarly mind illumi- of all, from the poorest folk to King Barbarossa. She was nated the path of many others, and her great love of music known as the “Teutonic Prophetess”, the “Sibyl of the Rhine” gives us an insight into the invisible and eternal dimensions (Die rheinische Sibylle), the “Jewel of Bingen” (Edelstein of humanity and the universe. Thanks to her music we hear Bingens) and “God’s Trombone” (Posaune Gottes). Inspired the angels and heavenly harmony. Her chants revolutioni- by the knowledge she had gained from her reading of Arabic sed the music of her time. Although based on Gregorian and Greek treatises on medicine, as well as her comprehen- chant, her compositions go much further in terms of their sive knowledge of plants and their properties, she wrote two expressiveness, and how her melodic chant soars! Her vocal works on medicine entitled Causae e curae and Physica. She ranges often go from an octave plus a fifth to two octaves! also went on to publish the fruit of her visions, a major work The chant bursts forth in a register that was wide for its time, entitled Liber divinorum operum (“Book of Divine Works”). where the high notes correspond to the sun and the intense light of the angels, while the low notes correspond to dar- 5 EN kness and the devil. She also makes great use of melismatic (harmonia elementorum) combine “like the harmony of harps chant, a kind of “vocalise” on a vowel, to highlight a signifi- and zithers”; the visionary also extols all the elements of cant word or express an emotion with greater intensity. Her this world: ‘The fire has its flame and praises God. The wind musical language is one of great melodic richness and vari- blows the flame and praises God. In the voice we hear the ety, full of subtle nuances, and although it is monodic chant, word which praises God. Therefore, all of creation is a song the text and the words are highlighted with “the sound of the of praise to God.’” Schipperges adds: “It appears that Gui- Living Light” (Klang des lebendigen Lichtes). In this recor- bert de Gembloux, Hildegard’s close friend and biographer, ding I have also chosen to reflect the subtle use of quilisma, often visited Rupertsberg on religious feast days, giving ent- providing ornamentation or vibrato on a given note, which husiastic accounts of his time there, describing how, with is a recurring feature in Hildegard’s music. She composed great artistic skill, the abbess had complemented her melo- in the 8 Gregorian modes, often including more than one dies ‘with texts in praise of God and in honour of the saints’, mode in a single chant - a truly ground-breaking innovation enhancing them ‘with the accompaniment of the most be- for her time! The beautiful hymns to the Virgin Mary “Ave autiful instruments’ for public performance in church. Gui- generosa”, “Ave Maria” and “O tu suavissima virga”, express bert exclimed: ‘Never was anything comparable written by a the most intimate and sacred qualities of Marian chant. woman!’ With this in mind, we have decided to accompany They are songs of praise and an invocation to the Essential the luminous chants of Hildegard with a rich variety of ins- Feminine. The antiphons “O virtus Sapientiae” and “O quam truments – instruments that she loved and authorised to be mirabilis” are hymns in praise of wisdom and the miracle of played during ceremonies. life on earth, embracing humanity and all living creatures. Planctus David is one of six texts, or laments, composed by Heinrich Schipperges writes, quoting Hildegard: “A per- Abelard on Old Testament themes. In these laments, he son listening to a song often takes deep breaths and sighs, sings of imminent death or, in the case of Planctus David, the and with good reason, because it reminds us that the soul unjust death of one or several beloved individuals.
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