Music by Hildegard Von Bingen - Essay Example

 Hildegard Von Bingen, also commonly known as St. Hildegard was born arguably in 1908 to noble parents. There had been many descriptions attached to her such as scientist, healer, writer and of course composer. She was an influential figure during the Middle Ages, at a time when women in the church were not given much emphasis. She was dubbed by people in her time as the ‘Sibyl of the Rhine’ as they sought her advice and help for personal problems, health and spiritual issues. Barbara Newman, in the Introduction of ‘Scivias’ describes her best by saying that, “Hildegard unites vision with doctrine, science with religion, charismatic jubilation with prophetic indignation, and the longing for social order with the quest for social justice in ways that continue to challenge and inspire” (p. 10). The influence of Hildegard through her music has transcended in such that it remains one of the most notable in the tradition of the Christian faith. Spiritus Sanctus The first song, ‘Spiritus Sanctus’ is homage to the Holy Trinity and the Holy Spirit sung in beautiful Latin by angelic voices of piety. The song, as though speaking to one’s soul, reverberates with the power of the Holy Spirit as it is sent down to Earth by God to overlook His creation. It emphasizes the scope of the life that is given and how Man must overcome sin and celebrate the life that was given. Spiritus Sanctus is an affirmation of the power of singing and how it is associated with prayer. The song which is basically a chant is sort of an interpretation of its composer of the sounds of heaven and quite possibly how the angels must be singing to God in His praise. The harmony in the song is very eminent as it is sung in chorus by a group. It is a quintessential prayer where there are varied pitches in the middle of the song at a much faster pace wherein one or a couple voices are more audible. This is then followed by a harmonious chorus of the rest which backs the primary voices. Among the most piercing of the elements is the subsequent coming together of the voices from a lowered modulation to sing “Spiritus Sanctus” in unison toward the end with about less than a minute left. The song, which is a healing prayer, revitalizes the spirits and catapults it into a sense of euphoric sensation that brings about a relaxed but not an altogether uninterested feeling but of calmed but intensified realization. Ordo Virtutum The next song, ‘Ordo Virtutum’ is regarded as the oldest surviving morality play or also known as a liturgical drama of its time written by Hildegard. In the same way that most or almost all of the writers during her time claim that they were compelled by a vision to write or to produce, ‘Ordo Virtutum’ which literally translates to Play of Virtues was conceived in the same manner. It revolves around the age-old conflict between sins or the yearnings of the flesh and the upholding of virtues in order to better serve God and his plan. This creation of the composer has been performed a number of times by various groups including academic theatrical plays. It preceded all other liturgical dramas by over a century. Written in Latin and wholly in music, it “is thoroughly monastic and aristocratic in character” (Newman, p. 26) It is by its very purpose, a commentary and a form of teaching that aims to educate and forewarn people of their acts (ibid., p.13). The play is the struggle of the soul against the pulls of evil. This is illustrated through a journey where redemption is achieved through the necessity of the virtues. This struggle is depicted into an actual fight between virtues and their enemies. The Anima in ‘Ordo Virtutum’ was able to conquer the devil through the virtues. Virtues such as milites, fides and fear of the Lord (represented by Jesus) aserve as pivotal characters throughout the play. Another definitive concept is the importance given to the body as the dwelling place of the spirit and how this too must be taken cared of as essentially a temple of God (Kienzle, p. 36-37). This is perhaps among the most influential of her work with an indellible personal marking at its best as seen through the characters and what it aims to convey. It is more encompassing than the previous composition as it is an exposition of a story told through a series of songs. The value of the tones isdiverse as it showcased different depths with both feminine and masculine voices. The dynamics of the singers is varied as each stage of the song portrays a stage into the journey of the plot and its characters. The impact of the instruments is given its own due accord as interloping scenes unfold. Perceived to be among Hildegard’s earlier works, the harmony is soothing as it is elaborate. The first part of ‘Ordo Virtutum’ contained a developmen of the sounds from instrumental to the alternating rhythm of the male and female voices. Ave Generosa The final song, ‘Ave Generosa’ is no less remarkable than the others. Written in Latin, it is as its title suggests an unending veneration for one of the well-loved figures of the Catholic religion, the blessed Virgin Mary. There is no underestimating the impact and the importance of Mother Mary in religion and there is no better way of communicating this truth than through ‘Ave Generosa.’ It is a fountain of melody which once again blends the power of the masculine tone into a delicate rendering of the song while blending it with the intense voice that fully encapsulates feminine power. The most captivating part of the song is towards the end where the building up to its conclusion from the subtle voice was transformed into an intense melody and the shift in timbre is palpable. It is much more than the usual hymns. Much like the others, the song was meant to be a hymn composed for the church despite how there are some who regard that there is the sense of something unfamiliar in its arrangement. “The range alone of ‘Ave Generosa’ thus represents a stunning departure from hymn conventions, to Hildegard it represents something of a cultural norm: an emphasis on wide range is apparent throughout Symphonia” (Holsinger, p. 111). This further strengthens the contribution that Hildegard has made not only for Catholicism but also in music as a composer. Bibliography “Hildegard of Bingen, Spiritus Sanctus.” Youtube.com. 15 September 2007. Prosepp. 5 June 2011 http://www.youtube.com/watch?v=LJEfyZSvg5c. “Hildegard von Bingen- Ave Generosa.” Youtube.com. 27 July 2009. Mitbar. 5 June 2011 http://www.youtube.com/watch?v=2fRN7Czrs8Q “Hildegard von Bingen- From: ‘Ordo Virtutum’ (1/6).” Youtube.com. 6 May 2009. Bartje11. 5 June 2011 http://www.youtube.com/watch?v=tbO8NXbgdbE. Holsinger, Bruce W. Music, Body and Desire in Medieval Culture Hildegard of Bingen to Chaucer. Stanford: Stanford University Press, 2001. Kienzle, Beverly Mayne. "Constructing Heaven in Hildegard of Bingen's Expositiones Evangeliorum." Muessig, Carolyn and Ad Putter. Envisaging Heaven in the Middle Ages. New York: Routledge, 2007. 34-42. Newman, Barbara. "Introduction." Hildegard of Bingen. Scivias. Trans. Hart, C. and Bishop, J. New Jersey: Paulist Press, 1990. 9-56. Read More