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.
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