“Tunc Tu Clamas Clara Voce”: Mariological Allusion and the Music of St. Hildegard of Bingen
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“TUNC TU CLAMAS CLARA VOCE”: MARIOLOGICAL ALLUSION AND THE MUSIC OF ST. HILDEGARD OF BINGEN by Lucia M. Denk Submitted in partial fulfillment of the requirements for the degree of Master of Arts at Dalhousie University Halifax, Nova Scotia March 2021 © Copyright by Lucia M. Denk, 2021 TABLE OF CONTENTS LIST OF TABLES………………………………………………….............iii LIST OF FIGURES…………………………………………………………iv LIST OF MUSICAL EXAMPLES………………………………………….v ABSTRACT……………………………………………………………..…vii ACKNOWLEDGMENTS………………………………………………...viii CHAPTER ONE: INTRODUCTION: MARIOLOGY IN THE MUSIC OF HILDEGARD OF BINGEN: A RECONSIDERATION………1 CHAPTER TWO: MARIOLOGICAL ALLUSION AND THE VOICE OF MARY IN THE TWELFTH CENTURY……………………..15 CHAPTER THREE: MARIOLOGICAL ALLUSION APPLIED TO WOMEN THROUGH MUSICAL INTERTEXTUALITY……….……….70 CHAPTER FOUR: PEDAGOGY OF MARIOLOGICAL ALLUSION IN HILDEGARD OF BINGEN’S ORDO VIRTUTUM….....133 CHAPTER FIVE: CONCLUSION…………………………………….....176 BIBLIOGRAPHY………………………………………………………...182 ii LIST OF TABLES Table 1.1 Sixteen Marian Liturgical Plainchants of Hildegard of Bingen…………...5 Table 2.1 Mary’s Voice in the New Testament……………………………………..20 Table 2.2 Hildegard of Bingen’s “O Fili dilectissime”....…………………………...31 Table 2.3 Examples of First-Person Mariological Allusion in Scriptural Texts (Wisdom Literature Used as Lessons in the Liturgy for Marian Feasts)…41 Table 2.4 Texts for the Feast of the Assumption at Matins, First Nocturn (Engelberg 103, folio 142v)………………………………………………52 Table 3.1 Chant Incipits Sharing Pitches with “Alma redemptoris mater” (D-KA Aug. LX)………………………………………………….............93 Table 3.2 Texts of “Alma redemptoris mater” and “Alma pupillorum mater”…......97 Table 3.3 Melodic Concordances with “Cum erubuerint” up to 8 pitches (for inventories on the CANTUS Database that include melodic transcriptions).......……………………………………………………....117 Table 3.4 Concordances of “Haec est dies” in Manuscripts from the 10th-13th Centuries……………………………………………………….119 Table 3.5 Translations of “Cum erubuerint” and “Haec est dies”…………………127 iii LIST OF FIGURES Figure 3.1 Lubiąż manuscript (thirteenth-century Cistercian antiphoner), PL-WRu I F 401, folio 221r………………………………………………95 Figure 3.2 Sample melody search results with the alternative melodic opening motive of “Alma redemptoris mater”.……………………….....101 Figure 3.3 Opening of “Sicut malum inter ligna silvarum,” breviary from Notre Dame Cathedral, F-Pnm lat. 15181, folio 473v………………….103 Figure 3.4 “Ave regina caelorum,” Sankt Gallen, Stiftbibliothek, 388, folio 470….111 Figure 4.1 Juxtaposition of Ordo rubrics pertaining to Anima (with abbreviations in the Riesencodex for the words “Sed,” “gravata,” “anima,” “conqueritur”)……………………………..140 iv LIST OF MUSICAL EXAMPLES1 Example 3.1 Sample transcriptions of the opening of “Alma redemptoris mater” from multiple manuscripts (listed at the upper-right side of each excerpt is the manuscript siglum, the folio on which the chant appears, and the feast designation in each manuscript, respectively)………….....................................................90 Example 3.2 Transcription of the opening of “Alma pupillorum mater”.................95 Example 3.3 Juxtaposition of the opening phrases of “Alma redemptoris mater” with “Alma pupillorum mater”…………………………………..…..98 Example 3.4 Juxtaposition of the opening melodic gestures in “Alma redemptoris mater”……………………………………….…101 Example 3.5 Juxtaposition of “Ave regina caelorum” with its only match on CANTUS Database up to seven notes, “Sicut malum inter ligna silvarum”……...........................................104 Example 3.6 Comparison of opening “Ave regina caelorum” phrases with “O nobilissima”………………………………………….................110 Example 3.7 Comparison of the openings of “Cum erubuerint” and “Haec est dies”……………………………………..........................122 Example 3.8 “procedentes in peregrinatione casus” from “Cum erubuerint,” D-WI1 2…………………..………………………………………..124 Example 3.9 “tunc tu clamas clara voce” from “Cum erubuerint,” D-WI1 2, de BMV……………………..……………………………...…......126 Example 3.10 “hodie mortem” from “Haec est dies,” D-KA Aug. LX, Annuntiatio Mariae………………………………………………...128 Example 4.1 Comparison of “Nos sumus radices et vos” with “Gratulare et laetare”…………………………………………........151 Example 4.2 Musical Analysis of “O nos peregrinae sumus”………………......154 1 While the transcriptions used for these examples are from CANTUS Database, with some modifications/additions on my part in some cases, all musical analysis/phrase diagrams are my own. v Example 4.3 Comparison of “Haec est dies” with “Vide quid illud sit quo”…........158 Example 4.4 Comparison of “Quia ergo femina” with “Tu nescis nec vides nec”……………………….................................160 Example 4.5 Comparison of “O gloriosa domina” with “Alleluia o virga mediatrix”…………………………………………..165 Example 4.6 Comparison of “Ave regina caelorum” with “O laudabilis mater”……………………………………………..…...167 Example 4.7 Comparison of “Ego victoria” with “Ave regina caelorum”.………...169 Example 4.8 Comparison of “Ego victoria” with “Gloriosa semper virgo”……......170 Example 4.9 Comparison of “Gaudete o socii” with “gaude gloriosa”………….....172 vi ABSTRACT Hildegard’s Mariology, most overtly expressed through her sixteen Marian plainchants, has received close attention by scholars over the years. Nevertheless, unanswered questions remain concerning her Mariology as well as the musical manifestations of her devotion to Mary. This thesis seeks to fill a void in this area of Hildegard research by introducing a new lens—Mariological allusion—by means of which new aspects of Hildegard’s Mariology in her music may be discovered and explored. First, an investigation of Mariological allusion in the twelfth century, particularly as it is channeled through the theme of Mary’s voice, demonstrates its prevalence in medieval culture. Secondly, case studies, including select compositions by Hildegard of Bingen, manifest applications of Mariological allusion to female saints through musical intertextuality. Finally, Hildegard of Bingen’s liturgical drama, Ordo virtutum, illustrates the presence of Mariological allusion, a work which brings together themes from the previous chapters by showcasing both a twelfth-century focus on Mary’s voice and applications of Mariological allusion to the women in Hildegard’s community. Ultimately, the lens of Mariological allusion is employed in this thesis both as a means of reassessing and recontextualizing Mariology in the music of Hildegard of Bingen, and to provide a new mode of inquiry for future studies of the intersections of medieval plainchant with Marian devotion. vii ACKNOWLEDGMENTS There are a number of individuals without whom this project and its completion would not have been possible. First, I would like to extend my sincere thanks to Fred and Elizabeth Fountain for the Fountain School Fellowships which I have received towards my studies. Their contributions to the arts/music research at Dalhousie University have been tremendous, and I feel very blessed to have been a recipient of their generosity. I would also like to express gratitude to certain individuals who throughout my life have been both consciously and unconsciously instrumental in my musical journey, and who inspired me to pursue further research in musicology and medieval plainchant. A very special thank-you to my parents and two brothers (including Michael and my mom Debra, who graciously helped proofread this thesis) for being so supportive of my musical interests over the years, even when it meant helping me move to another country to undertake graduate study! Furthermore, I would like to thank Joseph Mullen, former choir director of St. Jude’s Church, whose passion for music and the singing of plainchant was truly infectious, and who provided me my first opportunities to sing plainchant as well as work as a church organist while still a teenager. Also, my sincere thanks to Dr. Bibiana Vergine for inspiring me to consider plainchant as a research specialty, for reading a draft of my thesis and providing helpful comments, and for her assistance and encouragement throughout the years as a wonderful friend and colleague. Additionally, I owe a great deal to the musicology faculty of the Fountain School of Performing Arts for their incredible dedication and support of my studies at every turn, and for enabling many excellent opportunities for professional development through RA- and TA-ships, conference travel funding, etc. I also want to extend a special thanks to Dr. Estelle Joubert for her encouragement and for providing me with a publication opportunity while working towards my degree. And, of course, I am very much indebted to Dr. Jennifer Bain for providing outstanding mentorship throughout my degree program, for the opportunity to gain invaluable experience in plainchant studies as a research assistant, and whose insights and ideas have contributed greatly to helping this project achieve its final form. Much thanks must also go to Drs. Lori Kruckenberg and Barbara Swanson for being my thesis readers and for their insightful feedback. Furthermore, I am grateful to Frs. Pierre Roy, Kevin Robinson, and Daniel Themann for their assistance with theological questions, to Dr. Michael Fournier from the Classics Department at Dalhousie University for answering my questions regarding terminology, and to Drs. Christopher Grundke and Jack Mitchell from the Classics Department at Dalhousie University for their advice on and assistance with Latin translations. Finally, and most importantly, I would like