Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0007
H. Meconi
Hildegard’s reception, musical and otherwise, is traced in this chapter. After her death, Theoderic of Echternach completed her Vita, and possibly a series of Eight Readings for her feast day. Gebeno of Eberbach excerpted her works in the Pentachronon, and official canonization procedures began in 1228 (though the process concluded only in 2012, followed by Hildegard’s recognition as a Doctor of the Church). Rupertsberg was destroyed in 1632 and Eibingen dissolved in the early nineteenth century; the Abtei Sankt Hildegard was created in the early twentieth century. Revival of the music began in the mid-nineteenth century, with the first complete edition published in 1969. But only in 1982, with recordings from Sequentia and Gothic Voices, did Hildegard’s music really begin to reach a broad audience.
希尔德加德的接待，音乐和其他方面，追溯在本章。在她死后，Theoderic of Echternach完成了她的生活，并可能为她的节日完成了一系列的八读。Eberbach的Gebeno摘录了她的作品，官方的封圣程序始于1228年(尽管这个过程直到2012年才结束，随后Hildegard被承认为教会博士)。鲁珀茨堡于1632年被毁，艾宾根于19世纪初解散;圣希尔德加德修道院建于20世纪初。这种音乐的复兴始于19世纪中期，1969年出版了第一部全集。但直到1982年，随着《Sequentia》和《Gothic Voices》的录音，希尔德加德的音乐才真正开始接触到广泛的听众。
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Pub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0008
H. Meconi
This chapter provides an overview of Hildegard’s music, beginning with an examination of the way in which musical ideas and imagery pervade all of her writings. A discussion of the Dendermonde and Riesencodex collections of her music is followed by a summary of stylistic traits, including characteristics of her poetry (e.g. fascination with viriditas), her choice of subject matter, the use of models, melodic practices, fondness for melisma, and extremes of length and range in selected works. The chapter concludes with her conception of mode and use of accidentals. Throughout comparisons are made with both traditional plainchant (which Hildegard’s music resembles only imperfectly) and contemporary regional practice (which her music does reflect).
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Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0005
H. Meconi
The expansion of Hildegard’s world and influence is the subject of this chapter. It describes the numerous preaching tours she undertook and her close relationship with Trier, with special attention given to her so-called hymn Mathias sanctus, written for the monastery of St. Eucharius. Also discussed are Hildegard’s connection to Holy Roman Emperor Frederick Barbarossa, her theological treatise Liber vite meritorum, her connection with the community at Eibingen, her Explanation of the Athanasian Creed, and the numerous exorcisms she performed. The vitae she wrote for St. Disibod and St. Rupert, and the music composed in their honor (especially the sequence O ierusalem, the antiphon O beata infantia, and the responsory O felix anima), are treated as well.
希尔德加德的世界和影响力的扩张是本章的主题。书中描述了她进行的无数次巡回布道，以及她与特里尔的密切关系，其中特别提到了她为圣尤查利乌修道院写的所谓赞美诗《圣马提亚》(Mathias sanctus)。还讨论了希尔德加德与神圣罗马帝国皇帝弗雷德里克·巴巴罗萨的联系，她的神学论文《美德之书》，她与艾宾根社区的联系，她对亚他那西亚信条的解释，以及她执行的众多驱魔。她为St. Disibod和St. Rupert写的个人简介，以及为纪念他们而创作的音乐(特别是耶路撒冷序列，对唱O beata infantia和回应O felix anima)，也被处理。
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Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0004
H. Meconi
In this chapter Hildegard’s presumed output before Liber vite meritorum is discussed, including Scivias, her correspondence, Physica, Cause et cure, the Lingua ignota and Litterae ignotae, the Gospel homilies, commentary on the Benedictine Rule, and her musical collection Symphonia armonie celestium revelationum. The structure of Scivias, its illuminations, and the musically important closing concert, with its song texts and short version of Ordo virtutum, are emphasized. The nature and genesis of the Symphonia is examined, and its differing structure in the Dendermonde and Riesencodex is laid out and explained. The significance of the 1150s for Hildegard’s activity closes the chapter.
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Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0006
H. Meconi
This chapter covers Hildegard’s turbulent last years. Her last theological treatise, Liber divinorum operum, was completed after Volmar died; his replacement, Gottfried of Disibodenberg, began Hildegard’s Vita but died before completing it. The monk Guibert of Gembloux transmitted the questions that generated her Solutiones triginta octo quaestionum and solicited an important description of the nature of Hildegard’s visions. The Dendermonde manuscript including her music was sent to the monks of Villers Abbey, and the Riesencodex (also with her music) was begun. Her community was placed under interdict for burying a supposed excommunicate in sacred ground, and Hildegard’s subsequent “Letter to the Prelates of Mainz” includes her most powerful statement about the importance of music. The chapter closes with a description of the heavenly lights that followed her burial.
这一章讲述了希尔德加德动荡的最后几年。她的最后一部神学著作《神学著作》(Liber divinorum operum)是在沃尔玛去世后完成的;他的继任者，狄斯波登堡的戈特弗里德，开始了希尔德加德的《生活》，但在完成之前就去世了。Gembloux的修道士吉伯特(Guibert)传递了一些问题，这些问题产生了她的“解决三分之一的问题”(solutions triginta octo)，并征求了对希尔德加德愿景本质的重要描述。包括她的音乐在内的《登德蒙德》手稿被送到了维勒修道院的修道士手中，《诗经》(也有她的音乐)开始出版。她的社区被禁止在圣地埋葬一个被逐出教会的人，希尔德加德随后的《致美因茨主教的信》中包含了她关于音乐重要性的最有力的声明。这一章最后描述了她被埋葬后天上的光。
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Pub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0009
H. Meconi
The chapter opens with an overview of monastic liturgy in Hildegard’s time, providing an explanation of the Temporale and Sanctorale, Proper and Ordinary texts, the eight daily Offices, and composed chant versus liturgical recitative. Hildegard’s works are then placed in the context of the liturgical year, with anomalies indicated. A survey of the genres she used is followed by discussion of her shorter works: the Kyrie, her forty-three antiphons (with special attention to O tu illustrata), and the eighteen responsories. The norms for each genre are described, including formal expectations, and the ways in which Hildegard’s compositions meet or differ from these norms is indicated.
这一章开篇概述了希尔德加德时代的修道院礼仪，提供了对时间和Sanctorale，适当和普通文本，八个日常办公室的解释，以及组成的圣歌与礼仪朗诵。然后，希尔德加德的作品被置于礼仪年的背景下，并指出了异常情况。在对她所使用的流派进行调查之后，讨论了她的短篇作品:《Kyrie》，她的43首对奏曲(特别关注《O tu illustrata》)和18首应声曲。描述了每种流派的规范，包括正式的期望，并指出了希尔德加德的作品符合或不同于这些规范的方式。
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Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0010
H. Meconi
The concluding chapter examines Hildegard’s longer genres. It begins with her single alleluia and then moves to the seven works called sequences. Special attention is paid to their formal structures and their often idiosyncratic treatment of generic norms, while the sequence for St. Disibod, O presul vere civitatis, is examined closely. Hildegard’s four hymns come next, with a demonstration of the ways in which the problematic Mathias sanctus shares characteristics with the other works called hymns. The unusual genre of “symphonia” is discussed, with an enumeration of the differences between Hildegard’s symphonia for virgins and her one for widows. After treatment of the unassigned song O viridissima virga, the chapter concludes with a synopsis of the song’s function.
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Pub Date : 2018-10-01DOI: 10.5622/illinois/9780252033155.003.0001
H. Meconi
This chapter introduces composer Hildegard of Bingen (1098-1179), a polymath visionary who was the most prolific composer of plainchant and creator of the first musical “morality play.” It traces her enclosure at the Disibodenberg monastery with the pious Jutta of Sponheim at the age of twelve, her leadership of a community of Benedictine nuns, the startling vision that compelled her to begin documenting her visions when she was forty-two in her book Scivias, and interactions with her confessor Volmar, St. Bernard of Clairvaux, and Pope Eugenius III. Another important vision instructed her to leave Disibodenberg with her nuns and create a new community at Rupertsberg, on the Rhine River across from Bingen.
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Pub Date : 2018-10-01DOI: 10.5622/ILLINOIS/9780252033155.003.0002
H. Meconi
The chapter compares Hildegard’s new life at Rupertsberg with her previous time at Disibodenberg, with emphasis on the Opus dei component of monastic life, the limited opportunities for musical performance while at Disibodenberg, and her newfound freedom at Rupertsberg. It examines music possibly used in connection with the rededication of the Rupertsberg church, including O orzchis ecclesia and the musical play Ordo virtutum (The Play of the Virtues). It discusses the play’s plot and structure; musical characterization; performing forces; the range, length, and mode of individual parts (including Victory and Chastity); costuming possibilities; Hildegard’s likely role as Humility; possible reasons for the play’s genesis; and Hildegard’s ongoing interest in the virtues, especially in Scivias.
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