Here is the latest composition in my Hildegard Revisited series (number 50 of 77). The text is a yearning for joy, and the melody is written in the mysterious phrygian mode. I had the idea that a languorous waltz might create the right atmosphere, and was delighted when the chant slipped easily into this somewhat surprising context.
If you’d like to see and hear the original, sung from the 12th century manuscripts, check out my previous post.
O eterne deus – a slow dance for joy
O eternal God, please burn now with such love that we may become those limbs that you made in the same love as you begot your Son at the first dawn, before all other creatures; and look at the need that falls upon us and remove it from us, for your Son’s sake, and lead us to the joy of salvation.
On February 7th and 8th, I will be performing with ensemble Ut Sol and Marianne Noordink in Winter, a concert that combines music by Hildegard von Bingen, with Yiddish songs, and Sufi melodies. Winter emphasizes our shared human experience, tracing our journey through the darkness to the new light.
On February 7th, we are in Huissen, NL. There is a singing Hildegard workshop before hand from 2pm to 5pm. If you’d like to attend, please reserve here.
On February 8th, we are in St. Andrew’s Brussels (concert only). Space is limited, so reservation is advised, via www.musicrelevant.be.
I’m looking forward to this celebration of the light!
Just in time for Christmas, an ecstatic antiphon by Hildegard Von Bingen about love and the joy of salvation 🙂
O eterne deus
O eternal God, please burn now with such love that we may become those limbs that you made in the same love as you begot your Son at the first dawn, before all other creatures; and look at the need that falls upon us and remove it from us, for your Son’s sake, and lead us to the joy of salvation.
My entire Hildegard Revisited project is on SoundCloud.
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.
