I have finished my revisiting of O gloriosissimi lux vivens angeli!
It is scored for full choir a cappella, with a semi-chorus accompanying the solo voice for some passages. (I have used a cello to play the bass line, just because I can’t sing that low!)
I was inspired not only by the text, but also by the bi-modality of the original monody (see my previous post). In particular, you will hear at the end how the piece swings between D major and B♭ major, all the while keeping the D minor (Dorian) feel with a solo line that contains F♮s. In other words, I had a lot of harmonic fun 🙂
Here it is: O gloriosissimi – the living light
O most glorious, living light, angels, who, beneath divinity, behold the divine eyes, with the mysterious darkness of every created thing in ardent desires which can never be satisfied. Oh, how glorious are the joys of your form, which is untouched by every wicked work, such as first arose in the company of the fallen angel, who sought to fly above the inner, hidden castle of God, from where he plunged down by a crooked path to destruction. But by consulting the instruments of his fall he set in place the work of the finger of God.
Continuing with Hildegard von Bingen’s “Scivias” chants, here is number 3 – an antiphon to the angels: O gloriosissimi lux vivens angeli.
Such an interesting chant this one. It starts on E, in Phrygian mode, but migrates to Dorian mode (on D) in the middle, coming back to Phrygian only at the very end. In the Beuroner “Lieder” book, which transcribes all Hildegard’s chants into a sort of square notation, the authors have decided that this must be an error, and have transposed the second half up a tone so that it remains in Phrygian mode. However, both the main 12th century manuscripts (the Dendermonde and the Riesencodex) are clearly in Dorian mode for the second half. I have decided to follow the manuscripts. After all, it is not the only instance of Hildegard hopping between modes within a single piece.
Here is my interpretation, following the Dendermonde manuscript:
O most glorious, living light, angels, who, beneath divinity, behold the divine eyes, with the mysterious darkness of every created thing in ardent desires which can never be satisfied. Oh, how glorious are the joys of your form, which is untouched by every wicked work, such as first arose in the company of the fallen angel, who sought to fly above the inner, hidden castle of God, from where he plunged down by a crooked path to destruction. But by consulting the instruments of his fall he set in place the work of the finger of God.
I’m happy to announce that Ensemble Caldemia will be performing The Living Light, a concert of medieval and contemporary music around the music of Hildegard von Bingen, in Brussels on SundayOctober 19, 2025 at 6pm in the intimate, beautiful acoustic of St Andrew’s Brussels. Tickets are on sale here (reservation is advised).
The wonderful Helen Crayford and I are busy preparing our new programme (A Special Relationship), with pieces from the 1920s, 30s and 40s that link the UK and the US and hark back to America’s golden years… We would love you to join us if you can make it to the South coast of England on either Saturday September 6th or Sunday September 7th. More details in the posters!
It’s taken me a while, but I have now finished my revisiting of the Scivias responsory O tu suavissima virga. Many thanks to Marianne, as it was our recent conversation that helped me to decide on a choral arrangement for this one. It is scored for solo voice, with a semi-chorus and full choir, accompanied by two cellos and a drum.
Here it is!
O you, the sweetest branch, sprouting from the root of Jesse. O how great is the virtue which the divinity beheld in this most beautiful daughter, like an eagle sets its eye to the su, when the heavenly father directed attention to the bright virgin, in whom he wished his word to be made carnate. V: For in the mystical mystery of God, the virgin’s mind was enlightened and from her came forth the wonderfully bright flower.
