ࡱ> ` wjbjb ddq```````|%|%|%|%,%<82%%%%%&&&7777777,9R <+8`&&&&&+8U'``%%@8U'U'U'&`%`%7U't8|````&7U'U'y6|``7 % m5|%U'67V8087=U'=$7U'`$  Hildegard 2006 Programme note and synopsis General note Hildegard was written in response to an idea originally proposed to me by Percussion Group The Hague. Co-commissioned by them, the New London Chamber Choir and the Belgian Ensemble, Champ dAction, it was originally conceived as a modern-day medieval Liturgical Drama, based on the life and visions of the celebrated 12th Century writer, composer and mystic, Hildegard von Bingen. The direct pre-cursor of the later medieval Mystery Play (which developed later still into opera), Liturgical Drama was a popular art form in the early Middle Ages, often composed jointly by groups of singers, rather than by a single composer. Liturgical Dramas were not, in fact, liturgical, but rather musical plays on a religious subject, normally performed in the abbey or cathedral of the performing group. Hildegard, too, is designed to be performed in abbeys and cathedrals, for the reason that these magnificent buildings provide both the architectural beauty and spiritual ambience that is most in keeping with a medieval visionary such as Hildegard, and this in turn can bring us closer to the phenomenon of divine revelation, which is so essential to the understanding of Hildegard, and mysticism in general. Written and realized between November 2002 and April 2006, the final complete version of Hildegard has become an opera comprising twenty-two scenes divided into two acts, and lasting about two hours. However the work can be performed in a number of different versions, and can also be presented in semi-staged or quasi-concert settings, and taylored to suit the resources and conditions of each performance location. The first, semi-staged production took place in 2005 in the cathedrals of Norwich, St Davids and Salisbury, as well as St Johns, Smith Square in London, and consisted of a continuous 80-minute sequence of seventeen of the works twenty-two scenes. Later that year the Flanders Festival presented a concert version of six scenes in the Muziekcentrum Augustinus, Antwerp. The version to be heard tonight is the most complete so far, consisting of all but one of the twenty-two scenes performed in a quasi-concert setting. There is no libretto in the conventional operatic sense rather a patchwork of texts from Hildegards own Visions, Sequentia and Ordo Virtutum, letters written to and by Hildegard, as well as a wide variety of related biblical and medieval texts. These are sung sometimes in their original latin and sometimes in a kind of re-invented language composed of words from the extraordinary Dictionary of the Lingua Ignota (Unknown Language), the language in which Hildegard claimed to have received her visions. In certain narrative passages (most notably the letters to and from Hildegard), English translations are woven into the musical fabric by means of a particular kind of recitative technique or voice-over. The drama unfolds in a manner not unlike the layout of panels in a stained glass window, where a chronological sequence of snapshots is presented by panels laid out in three columns. Each of these three columns has a distinctive function and musical style. The left-hand column presents the narrative, where letters to and from Hildegard, framed by sections of ceremony or ritual, underline and connect significant events in her life. The right-hand column presents a kind of play-within-a-play using texts from Ordo Virtutum (Play of Virtues), Hildegards own Liturgical Drama on the perennial fight of Good against Evil, and the central column reveals the spectacular representations of visions from Hildegards first book, Scivias (Know the Way). All three columns are intricately related, as the often fantastic and surreal images in the visions appear to reflect Hildegards perception of certain real events, and passages from Ordo Virtutum seem to present a stylised allegory of her own life and personal crusade. The musical style in Hildegard is characterised by three distinct types of harmonic language. This is not unlike the ancient Greek musical technique where three types of modes, diatonic, chromatic and enharmonic, are designed to touch the soul with different types of emotion, or indeed Wagners leitmotif technique, where motifs and harmonies represent specific characters or ideas. In Hildegard, the three types of harmonic language are used to symbolize, broadly speaking, three qualities of living beings to which Hildegard often alluded. The first and highest quality is Virginity. Originating from the concept of the immaculate conception, this virtue is constantly idolized and praised in Hildegards letters, visions and poems, often in the context of some of her most richly sensuous imagery. Virginity is represented in musical terms by the natural harmonic spectrum (an example of which can be heard at the very opening of Hildegard), since this is a natural acoustical phenomenon, both perfect and unpolluted by academic or other human intervention. Accordingly, much of the plainchant-like Ordo Virtutum sections are sung in spectral intonation by the sopranos, who represent not only the mythical Virtues in the Ordo, but also Hildegards community of nuns. The natural spectrum is also especially apparent in the recitative-like passages of Hildegards letters, where the Voice of Hildegard is coloured by a kind of spatialized, spectral aura, supported by very quiet plainchant-like lines from the live Hildegard (singing extracts from the original latin text) and the viola providing a kind of continuo. The lowest form of being is, of course, the Devil, and all manifestations of Evil. This is represented by inharmonic sounds (sounds not conforming to the natural spectrum, such as unpitched percussion instruments, drums, rattles, and also wind instrument multiphonics). This symbolism is in fact in keeping with traditional Liturgical Drama (of which Ordo Virtutum is a good example), where the role of the Devil is always spoken, and associated with some noise or rattle (strepitus diaboli). This tradition arose out of the belief that Adam lost his singing voice after the Fall. In Hildegard, the spoken voice is used not only by the Devil himself, but also in instances where a character or characters have become possessed by an evil or demonic spirit. The most obvious example of this can be heard in the The Last Days and the Fall of the Antichrist, where the Devil leads the male chorus in a demonic ritual against the faithful (female chorus). A more subtle example can also be heard in Edifice of Salvation, when Monk Arnold tries to stop Hildegard from leaving Disibodenberg. Here his sung voice gradually becomes spoken as his actions gradually become controlled by evil forces. But the crucial notion of the Devil as an evil spiritual force capable of perverting any human being is underlined still further by casting the baritone soloist in conflicting roles both as benign characters (Pope Eugenius, Bishop Otto, Monk Arnold and Volmar), and malevolent characters (Heinrich, Bishop of Mainz and the Devil himself). Between these two extremes lies the major part of humanity, represented by more conventional tempered chromatic modes, as they struggle to maintain favour with God (harmonic) without falling into sin (inharmonic). Central to the original conception of Hildegard is not only its performance in abbeys and cathedrals, but also the use of space to immerse the audience in the drama as singers, players, spatialized electronic sounds are deployed around the whole performance area. The resulting choreography of sound invites the audience to witness the force of Hildegards visions as if they were seen today, thereby gaining a greater understanding of their meaning. The electronic sounds are spatialized using a sophisticated computer-controlled technique known as the Spatialisateur, developed in the mid 1990s at the acoustical research centre, IRCAM, in Paris. With this technique, a wide range of acoustical parameters of sound can be controlled with infinite precision to simulate their perceived position in space. Thus sounds can be placed with great accuracy at any distance and at any angle from the listener, and can also be moved around at any speed, spiraling round in circles or flying overhead. Thus in the Ordo Virtutum sections for example, the ghostly characters of Scientia Dei, Anima illa, Spes, Timor Dei, Fides and Obedientia are made to appear as if from a world of spirits, suspended in time and space. In this way, any distinction between the real world and the spirit world soon disappears, as the two worlds become a single reality. I would like to thank Fiona Maddocks, whose book, Hildegard of Bingen, The Woman of Her Age first gave me the idea for the opera, and for her help during the early stages of its conception. I would also like to thank Peter Brown for his latin translations of Veni ad nos (Edifice of Salvation), and certain other adaptations of original latin texts. I would like to thank Rona Eastwood for her help with my English translations of all the latin texts. James Wood Synopsis ACT I Scene 1 - Admission of Hildegard Disibodenberg, 1106 Bishop Otto of Mainz celebrates the admission of Hildegard into her first monastery at Disibodenberg. As was the custom, sentences from the funeral service and prayers for the Dead mark the postulants passing from earthly existence into an eternal, spiritual life with God. Lower voices whisper the words of the Hymn, Veni creator spiritus, whilst the sopranos welcome her with the single word, LIMIX (Light). Scene 2 - Hildegard contemplates alone in her cell The young Hildegard is left alone in her cell for the first time. She starts to hear music strains of music of the Virtues, which will later become her own Ordo Virtutum. Provoked by the sudden appearance of the Devil, the music in her mind becomes more and more intense the struggle between the Devil and the Virtues has begun. Scene 3 - Admission of Richardis and Hiltrud Disibodenberg, c.1112 Bishop Otto now admits two other nuns into Disibodenberg, one of whom, (Richardis von Stade), is to become a close friend, and an important part of Hildegards life. Scene 4 - The One Enthroned VISION 1 I saw a great mountain the colour of iron, and enthroned on it One of such glory that it blinded my sight. On each side of him there extended a soft shadow (TONZIZ), like a wing of wondrous breadth and length. Before him, at the foot of the mountain, stood an image full of eyes (LUZEIA) on all sides, in which I could discern no human form. In front stood a child (ZAINZ, ZIMZIAL) wearing a tunic of subdued colour. From the One Enthroned many sparks sprang forth, which flew sweetly around the images. The living sparks (flashes of colour and stabs of pain) are represented by the ricochets of Korean cymbals at the opening, and later by fragments of birdsong. The music gradually intensifies into a climactic whirlwind (FRENS), as The One Enthroned cries out in a strong loud voice, saying: O human, who are fragile dust of the earth and ashes of ashes! Arise therefore, cry out and tell what is shown to you by the strong power of Gods help. This vision is the first in Book One of Scivias, and is therefore the first vision Hildegard ever recorded. As with all her visions, it caused her both physical pain (she was a chronic migraine sufferer, and it has been suggested that this made her more susceptible to the kind of images and flashes of colour she described), and psychological anguish, because on the one hand the revelation was instructing her to write down all that she saw, and on the other she was bound by the strict Benedictine rules which forbade her from doing so. Scene 5 - Hildegard suffers illnesses from fear of revealing visions Hildegard is distraught with anxiety. The Devil appears again as if to exploit her state of weakness. The ghostly voices of four Virtues are heard slowly circling overhead (SPES (Hope), TIMOR DEI (Fear of God), FIDES (Trust), OBEDIENTIA (Obedience)), representing Hildegards primary preoccupations as she tries to maintain the balance of her mind. Eventually she is reassured by the chorus of Virtues as they sing the words: Oh fear living life, consoling one, you overcome the deadly shafts of death and with your seeing eye lay heavens gate open. Scene 6 - Hildegard seeks guidance 1146-48 Despite the Virtues reassurance, Hildegard resolves to seek advice on how to respond to her spiritual instruction. After an inconsequential exchange of letters with Bernard of Clairvaux, she decides to write to the Pope himself, offering to send a sample of her writings, with the hope that he will grant her permission to continue recording her visions. Scene 7 - The Armies of Angels VISION 2 1147 Synod of Trier Pope Eugenius receives the delegates bearing Hildegards manuscript, and reads passages of it to the assembled clergy. As he reads Hildegards description of nine armies of angels arranged in the shape of a crown, the armies seem to come alive, as five surrounding groups of musicians in turn summon the armies to battle with bells and trumpet-like fanfares. The sounds of steel and fire are heard as the angels fly overhead chanting battle-cries such as BURIZINDIZ, SCURINZ (fire, flame) GLOSINZ (army) AIGONZ (God) and AIEGANZ (angel). In this distinctly Crusade-like scenario, Hildegard finally observes: all these armies were singing with marvellous voices all kinds of music about the wonders that God works in blessed souls. Scene 8 - Hildegard defends herself against accusations of unorthodox practices 1148 By now Hildegard has become widely revered, and is beginning to weald considerable power and influence. But she is not without her critics. Word reaches a certain Abbess Tengswich from Andernach, that Hildegard has been allowing her nuns to dress immodestly, thereby disobeying Benedictine rules. With characteristically astute and precise argument, her reply reveals her astonishingly modern view of womanhood, and especially of virginity, a virtue she prized over all others. Tengswich also criticizes her for being exclusive her defence of this accusation promotes a surprisingly reactionary attitude to society, arguing that God distinguishes between people on earth just as he does in heaven between angels, archangels, thrones, dominations, cherubim and seraphim all are loved by God, but they are not equal in rank. Scene 9 is omitted in this 2006 version Scene 10 - Edifice of Salvation VISION 4 Disibodenberg, 1147-49 Hildegard receives a vision in which she is instructed to move with her nuns to another place, and establish a new monastery there. The location is described in detail as that place where the Nahe flows into the Rhine, namely the hill which earlier received its name from Blessed Confessor, Rupert (Rupertsberg). And on that mountain stood a four-sided building, formed in the likeness of a four-walled city. The four city walls are represented in sound by four choirs of trumpets and voices, who beckon Hildegard from all sides to come and help, lead and inspire the people of Rupertsberg. Meanwhile, Hildegards proposal to leave Disibodenberg creates consternation among her community, and once again causes her considerable anxiety, stress and more illness. Monk Arnold tries to prevent her from leaving and is struck dumb. Hildegard collapses under the strain, but the will of God prevails, and she is escorted by her nuns to her new home in Rupertsberg. Scene 11 - Arrival in Rupertsberg c.1150 The community arrive in Rupertsberg to an enthusiastic welcome, but find that the monastery itself is little more than a ruin, and in need of considerable renovation. The percussionists enter playing Simandrons, (traditionally played by monks in the Greek Orthodox Church for calling the faithful to worship), symbolizing the gathering of building materials from the surrounding forests; the crowds sing Hildegards famous Sequence, O Jerusalem (in fact written for the consecration of Rupertsberg Monastery in 1152) which likens the newly rebuilt monastery to the eternal city of Jerusalem, destroyed on earth and rebuilt in Heaven. ACT II Scene 1 - Consecration of Rupertsberg Monastery c.1152 Archbishop Heinrich of Mainz celebrates the consecration of the newly restored monastery. The choir sing the continuation of Hildegards Sequence with the words O Jerusalem, your foundation is laid with showering stones, as well as words from the Miserere: wash me throughly from my iniquities. Choir and percussionists play stones, a symbol of the living stones of the tabernacle of God with men (Revelation), the building of a spiritual house (Peter) and of course Christs description of Peter himself as the rock on which he would build his church. Images and sounds of water symbolize baptism and the washing away of sins. As the sounds of water appear to evaporate into the mist, Hildegard and Richardis finally meet face to face in an intimate duet, as they sing the Gradual for the Dedication of a Church, Locus iste. Scene 2 Virginitas VISION 5 1151-52 Originally entitled The Three Orders in the Church, this vision describes the image of a womanglowing like the dawn from her throat to her breasts and the voice from Heaven saying: This is the blossom of the Celestial Zion, the mother and flower of roses and lilies of the valley. O blossom, when in your time you are strengthened, you shall bring forth a most renowned posterity. There seems every reason to suggest that this is a reference to Richardis, who she audaciously compares to the Virgin Mary. The imagery is further strengthened by the interweaving of one of Hildegards most sublimely sensuous poems, Ave generosa. Scene 3 - The Richardis Affair 1151 Soon after establishing the monastery in Rupertsberg, Hildegards dearest friend, Richardis was offered the post of Abbess at Bassum. The heartbreak Hildegard suffered as a result of this, and her systematic and vehement persistence in trying to prevent Richardis from leaving, have led many commentators to wonder about the nature of their relationship. After her initial attempts at non-compliance she receives a sternly-worded letter from Bishop Heinrich ordering her to release Richardis. Her wild and vitriolic response shows Hildegard at her most impassioned and furious, describing him as slanderous, malicious and nothing more than a rotting, charred ember. When it begins to look as if this tactic, too, is going to fail, she resorts to an emotional approach to Richardis herself in a touching, loving and self-pitying letter, imploring her not to leave. The letter is all the more manipulative for its potent Biblical references, verging on the blasphemous - quare me dereliquisti? (why have you forsaken me?) (Psalm 22 and Christs last words from the cross (Matthew 27.46)) and O vos omnes qui transitis per viam, attendite et videte si est dolor sicut dolor meus (O all ye who pass by, behold and see if there is any sorrow like my sorrow) (Lamentations 1.12). However, with an air of down-hearted resignation, she does confess that her own judgement has been clouded by her own love for a certain individual, and proceeds to pray for Richardis future health and divine protection. Scene 4 - Death of Richardis 1152 Soon after Richardis departure to Bassum, fate is to deal an even worse blow barely a year later Hildegard receives a letter from Richardis brother, Archbishop Hartwig of Bremen, informing her of Richardis death. Signs that Hildegard has got over the affair of the previous year are clear from the resigned way in which she greets this tragic news: O how great a miracle there is in the salvation of those souls which God regards so highly that even his own glory does not overshadow them. Her eulogy ends with a quotation from her own Ordo Virtutum: O virginity, you stand firm in the royal chamber. In the chillingly allegorical sequence from the Ordo Virtutum that follows, Hildegard plays the role of CASTITAS (Chastity) in a further eulogy to Richardis; the Spirit of Richardis (as AMOR CELESTIS (Heavenly Love) sings I am the golden gate fixed in heaven: whoever passes through me will never taste bitter rebelliousness in her mind. The Virtues praise her as the tender flower of the fields (flos campi) which will never grow dry praying that she remain in the symphonies of heavenly habitants. In a final twist the Virtues then vow to remain true to her cause with the threatening final words Glorious, crowned one, how gladly we will fight against the deceiver, at your side. Scene 5 - The Last Days and the Fall of the Antichrist VISION 6 The Devil appears once again, this time rallying his supporters (tenors and basses) against the terrified faithful (sopranos and altos). Set as a kind of pagan, demonic ritual, the vision describes five beasts a dog, fiery but not burning, a yellow lion, a pale horse, a black pig and a grey wolf, along with numerous other images, shocking and horrific in their detail. This vision is used to symbolize what became a growing preoccupation of the last half of Hildegards life, namely the rise in heretical movements, in particular the Cathars, as well as Papal Schism and growing rifts within the Church. Hildegard toured far and wide over many years preaching on these subjects, and gaining ever greater popularity as a result. Scene 6 - Hildegard attacks Pope Anastasius and speaks out against heresy 1153-54 Hildegards passionate sermons against heresy were not merely restricted to general instructions addressed to congregations, but also occasionally took the form of personal attacks against specific members of the clergy. In a torrent of vitriolic prose, Hildegard writes to the feeble Anti-Pope Anastasius, accusing him of failing to stand up against the arrogant pomposity among those placed in his care, and accusing him of permitting corruption and injustice. She reveals that a voice from above speaks to her not in any human form, but in a language from above with the clear instruction let him who is able not fail to interpret these things for mankind to understand. This reference to the Unknown Language (Lingua ignota) is clearly intended to strengthen her authority over the Pope, one of several such ploys to which she feels able to resort, as her popularity grows and as she embarks on a long period of preaching tours throughout the Rheinland. Scene 7 - Hildegard suffers strain from increasing popularity Volmar speaks out 1170 After many years of preaching tours, the spread of Hildegards fame seems unstoppable. She has become revered not only for her tough views on heresy, but also for performing miracles and exorcisms. As a result, she is bombarded from all sides by letters from all kinds of people asking her to send copies of her sermons, to bless women with fertility, to perform and be present at exorcisms, and to undertake all manner of intercessions. Eventually the strain on her builds up to such a nightmarish extent that her faithful and life-long secretary and scribe, Volmar (now played by the baritone soloist), feels that he can no longer remain silent. In a touching and eloquent letter written to her whilst she is away preaching, he reminds her that she, too, is mortal, and implores her to take better care of herself. Volmars extremely close relationship with Hildegard for over forty years makes this, his only surviving letter, a truly precious glimpse of the man who has up to now written down every single one of her visions, her theological works and her letters. Scene 8 - Death of Volmar 1173 After Volmars poignantly expressed concern over Hildegards health, the news of Volmars own death, only three years later, represents yet another cruel twist of fate, and Hildegard is once again left like an orphan, left to labour on Gods work all alone. She writes to Abbot Ludwig pointing out that Volmar has died before completing his work on her current book (almost certainly her third theological work, the Liber divinorum operum (Book of Divine Works)), and so humbly offers to submit it to him for correction as soon as it is finished. Scene 9 - Final crisis and victory over the Devil 1178 Towards the end of Hildegards life, the community at Rupertsberg were themselves reprimanded for burying an alleged former heretic. Accordingly, the prelates at Mainz issued an injunction against them, forbidding them from singing the Holy Offices or from taking Holy Communion. The long and bitter row that ensued provoked Hildegard, in a letter to the Prelates, to expound her philosophy of music in the most detailed and eloquent way anyone could have wished for. And I heard a voice from the Living Light speaking about the different kinds of praises, as David says in the Psalms: Praise him with the sound of the trumpet; praise him with the psaltery and harp and so forth, until the words let every spirit praise the Lord. From these words about material things we can learn about spiritual things, since clearly it is the very material fabric and quality of these worldly instruments that gives our innermost being the best chance to offer the very highest praises in our Offices. Indeed, the holy prophets were inspired not only to compose psalms and canticles (the singing of which would set alight the hearts of all that heard them) but also to construct instruments of different kinds, thus creating polyphony. Hence, through both the form and quality of the instruments and the meaning of the words they accompany, the listeners, so stirred up and excited by these outward things, would become enlightened within. In such a way, the holy prophets delighted the soul through their mastery of both celestial singing and earthly instrumental music, as they sang and played together, recalling the music of Adam before his Fall which, though conceived by the Holy Spirit, used all aspects of the art of music to achieve a sweet and harmonious resonance. Her letter to the Prelates concludes with characteristic rhetoric this time is a time for womankind, because the justice of God is weak. But the full strength of Gods justice is now to be deployed, as this warrior woman rises up against injustice, so that it might fall defeated. Whether or not as a result of these threatening words, the crisis is finally resolved when Christian, Archbishop of Mainz lifts the injunction, on condition that evidence of the dead mans confession and absolution can be provided by suitably qualified men. Even before Christian has made the official announcement lifting the injunction, the Virtues celebrate their victory over the devil by binding him in chains, and praying to the Almighty to guide them, like sailors on a fair wind, into the heavenly Jerusalem. Scene 10 - Symphony of the Blessed VISION 7 In the final apocalyptic vision of Scivias,Symphony of the Blessed Hildegard takes up the analogy with wind and air Then I saw the lucent sky, in which I heard the different kinds of music, marvellously embodying all the meanings I had heard before again a song resounded, like the voice of a multitude, exhorting the virtues to help humanity and oppose the inimical arts of the Devil. VICTORIA announces the final defeat and binding of the Devil, whereupon Hildegards philosophy of music is put into practice with the jubilant singing of Songs of Unity and Concord, and Words of David. Scene 11 - Death of Hildegard Rupertsberg, 1179 Despite being beset by constant ill-health throughout her life, Hildegard lived to the unusually great age of 81. Her death was witnessed by Guibert of Gembloux, who had recently taken over from her life-long but recently departed scribe and secretary, Volmar. In the Vita Sanctae Hildegardis he describes the moment in detail: At early twilight on that Sunday, two very bright arcs of various colours appeared in the heavens over the chamber in which the holy virgin returned her happy soul to God. These rainbows extended over a wide stretch of sky out to the four corners of the earth, one from the north to south, the other from the east to west. In the vertex where the two arcs crossed, a bright moon-shaped light radiated. It spread its light near and far and seemed to expel the nightly darkness from the death chamber. In this light, a glittering red cross could be seen that at first was small, but then grew to a huge size. This cross was surrounded by innumerable varicoloured circles in which individual crosses were formed, each with its own circle. However, the smaller ones were visible first. When they had spread out in the firmament, they expanded to the East and seemed to lean toward earth toward the house in which the holy virgin had gone home, and they enveloped the entire mount in brilliant light. Thus the opera ends as it began, with the chorus of Virtues perpetually intoning the immortal word, LIMIX (Light), as, together with Hildegards soul, they are wafted into Paradise. 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