My next composition will be a setting of Hildegard von Bingen’s Nunc Gaudeant, a votive antiphon for the dedication of a church. Below is a link to my recording of her chant in its original form. Or is it?
For this one, I have had to take some difficult ficta decisions: to B♭ or not to B♭, is the question, basically. First, a bit of history: back in the 12th century, the only commonly flattened note was B. To make a distinction between a flattened B and a not-flattened B, the B natural sign was also used. In the two main 12th century manuscripts containing Hildegard’s work, there are many B♭s. B♮s, though quite rare, are also clearly in evidence.
In this piece, Hildegard uses both B♭ and B♮ symbols. But, unfortunately, she doesn’t provide us with a helpful symbol for every B in the piece – presumably, because she thought it would be clear to her readers without the additional symbol being added. For us 21st century bods, however, it turns out that it is not always clear. I checked a few online recordings: Sequentia uses B♭ throughout and does not take into account the B♮ signs. Sinfonye, on the other hand, uses B♮s throughout, unless there is a clear B♭ symbol in one of the manuscripts.
So who is right? There are a number of arguments to weigh up. My first fall back position is: if one of the two manuscripts uses a B♭ or B♮ symbol, then so will I. Here, this implies a use of B♭s in the words: materna, ecclesie, collocati, the second filii, and altissime, and a use of B♮s in the words: suum and serpens.
Great! But what about all the other Bs?
Well, there are various considerations that can help the decision. First, you can look at the melodic patterns that Hildegard uses. Where a B♭ or a B♮ has been used once and she goes on to use a similar melodic pattern, I would generally repeat the same type of B. In this case, this clearly suggests using a B♮ in quia, which is melodically close to serpens.
Using this argument, you could also say that the melody for ecclesie, which uses a B♭ (at least in the Riesencodex) justifies the use of a B♭ in all the other places where the melody is very similar: superna, the “nia” of simphonia, the “pissime” of turpissime, visceribus, and habuit. In addition, the melody for the second filii (as well as collocati) suggest a B♭ for the first filii.
All well and good, but there are other arguments that could contradict this. For example, when the melody goes up, towards the C in this case, some might favour a B♮, and when it goes down (towards the A) they might prefer a B♭. This could explain the difference between materna (that goes down to the A) and suum (that does not).
But it’s hard to be consistent with this argument here. For example, ecclesie uses a written B♭ (although only in the Riesencodex), but it only goes to the A in the next phrase on quia. And what of the B♭ in altissime (only in the Dendermonde manuscript)? This melodic figure does not go down to the A at all.
So what have I decided to do here? The basis of my interpretation is grounded in my latest theory: that the piece is written starting on C for a very specific reason. It’s not because you should necessarily sing it starting on C, or because it’s in some kind of C-mode. Rather, it’s because by starting on C, Hildegard has given herself the flexibility to use both types of B in one piece – thereby effectively combining the flavour of two of the church modes (lydian, which usually starts on F, and mixolydian, usually starting on G) in a joyous mix. She does a very similar thing in a significant number of her pieces that start on A, where her use of both B♮s and B♭s effectively combines a transposed dorian mode (usually starting on D) with a transposed phrygian mode (usually starting on E). So wonderful!
To decide exactly what to do with each of the “unmarked” Bs, I have mainly followed the melodic similarities idea. I therefore use B♭s in the words that have melodic patterns resembling ecclesie i.e., in superna, the “nia” of simphonia, the “pissime” of turpissime, visceribus, and habuit. I found dei to be a tricky one, and it is the one I am least sure of. In the end I have chosen for a B♮, as this melodic figure is slightly different from those mentioned above (it does not include the D), and it clearly goes towards the C. I also use a B♮ in suis , because of its similarity with the ascending melodic pattern in serpens.
For the upper octave Bs in simphonia and turpissime: as no B♭ is written in either manuscripts here, I choose for a B♮, mainly because this melodic figure then unites both modes, which fits very nicely with my basic premise :-).
Finally, what about the alleluia at the end? There are no B♭ symbols provided. I choose B♮s and a lydian ending.
Here is the link to my recording and below that you will find the two manuscripts, so you can take a look for yourself. NB There were also a few note decisions to be made here, because of possible errors in the manuscripts. Message me if you’d like to hear the rational behind my melodic choices 🙂
Dendermonde manuscript (D170rv):
Riesencodex manuscript (R472v):
Now let the motherly body of the Church rejoice, because her children are gathered in her bosom in celestial song. By which, o shameful serpent, you are confounded, because those whom your esteem held in its bosom now shine in the blood of the son of God, and therefore, praise be to you, king most high. Alleluia.
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