Thursday, August 8, 2019

De patria etiam earum

Antiphon at Lauds (likely for Psalm 62[63]) for St. Ursula and Companions Back to Table of Contents
(D 168r, R 472ra) by Hildegard of Bingen
De patria etiam earum
et de aliis regionibus
viri religiosi
et sapientes ipsis adiuncti sunt,
qui eas in virginea custodia servabant
et qui eis in omnibus ministrabant.
And from their country,
and from other places, too,
men wise
and of religion joined up with them,
to keep them safe with virgin guard
and serve them in all things.
Latin collated from the transcription of Beverly Lomer and the edition of Barbara Newman; translation by Nathaniel M. Campbell.





Transcription and Music Notes
by Beverly Lomer

D mode
Range: G below final to E a ninth above
Setting: Syllabic and neumatic

This is a relatively straightforward short antiphon in D mode. All of the phrases are neatly outlined by the final. Hildegard begins the first four lines with a linked D to A motif. Readers will note that I have placed the et that falls between lines one and two of the transcription on line one in order to preserve the rhetorical repetition.

While we generally do not make recommendations for ficta in the transcriptions in their current/literal renditions of the source, it is worth noting the Bb on line four. Dendermonde does not sign the flat, but it appears in R. The presence of the flat creates a tritone, which is forbidden. The E might be an error, but it appears in both manuscripts. Singers would have two options - leave the E and sing B natural, or change E to D and sing Bb. While there is an F in the downward progression from the B, the melody continues in an upward direction to complete the singing of the word sapientes.

The differentia in R does not contain pitches.

Further Resources for Unde quocumque
  • Hildegard of Bingen, Symphonia, ed. Barbara Newman (Cornell Univ. Press, 1988 / 1998), pp. 236 and 309-11.
  • Berschin, Walter. “Eine Offiziendichtung in der Symphonia Hildegards von Bingen: Ursula und die Elftausend Jungfrauen (carm. 44).” In Hildegard of Bingen: The Context of her Thought and Art. Ed. Charles Burnett and Peter Dronke. London: The Warburg Institute, 1998, pp. 157-62.
  • Flanagan, Sabina. “Die Heiligen Hildegard, Elisabeth, Ursula und die elftausend Jungfrauen.” In Tiefe des Gotteswissens - Schönheit der Sprachgestalt bei Hildegard von Bingen. Ed. Margot Schmidt. Stuttgart-Bad Cannstatt: frommann-holzboog, 1995, pp. 209-22.
  • Flynn, William. “Reading Hildegard of Bingen’s Antiphons for the 11,000 Virgin-Martyrs of Cologne: Rhetorical ductus and Liturgical Rubrics.” Nottingham Medieval Studies 56 (2012), pp. 174-89.
  • Flynn, William. “Hildegard (1098-1179) and the Virgin Martyrs of Cologne.” In The Cult of St Ursula and the 11,000 Virgins. Ed. Jane Cartwright. University of Wales Press, 2016, pp. 93-118.
  • Walter, Peter. “Die Heiligen in der Dichtung der hl. Hildegard von Bingen.” In Hildegard von Bingen, 1179-1979. Festschrift zum 800. Todestag der Heiligen. Ed. Anton Ph. Brück. Mainz: Selbstverlag der Gesellschaft für mittelrheinische Kirchengeschichte, 1979, pp. 211-37, at 223-29.
  • For a discography of this piece, see the comprehensive list by Pierre-F. Roberge: Hildegard von Bingen (1098-1179) - A discography

Unde quocumque

Antiphon at Lauds (likely for Psalm 99[100]) for St. Ursula and Companions Back to Table of Contents
(D 167v, R 472ra) by Hildegard of Bingen
Unde quocumque venientes
perrexerunt, velut cum gaudio
celestis paradisi suscepte sunt,
quia in religione morum
honorifice apparuerunt.
So no matter where they went,
as with the joy
of heaven’s paradise they were received,
for their religious life
was their honor.
Latin collated from the transcription of Beverly Lomer and the edition of Barbara Newman; translation by Nathaniel M. Campbell.





Transcription and Music Notes
by Beverly Lomer

A mode in Dendermonde
D and A modes in Riesenkodex
Range in Dendermonde: One pitch below the final to an octave above
Range in Riesenkodex: Depends on how one interprets the shift from opening D to concluding A.
Setting: syllabic and neumatic

Because the sources present two very different versions of this piece, we have created two transcriptions. In Dendermonde, the final is A, and there are some Bb’s, which could indicate a transposition - or not, as Hildegard’s use of A and C as modal finals is not straightforward. In Riesenkodex, the antiphon begins with D but ascends in the second line to encompass A as the final. Phrase breaks in the transcriptions are made after A and after E. Dendermonde includes two versions of the differentia.

Further Resources for Unde quocumque
  • Hildegard of Bingen, Symphonia, ed. Barbara Newman (Cornell Univ. Press, 1988 / 1998), pp. 236 and 309-11.
  • Berschin, Walter. “Eine Offiziendichtung in der Symphonia Hildegards von Bingen: Ursula und die Elftausend Jungfrauen (carm. 44).” In Hildegard of Bingen: The Context of her Thought and Art. Ed. Charles Burnett and Peter Dronke. London: The Warburg Institute, 1998, pp. 157-62.
  • Flanagan, Sabina. “Die Heiligen Hildegard, Elisabeth, Ursula und die elftausend Jungfrauen.” In Tiefe des Gotteswissens - Schönheit der Sprachgestalt bei Hildegard von Bingen. Ed. Margot Schmidt. Stuttgart-Bad Cannstatt: frommann-holzboog, 1995, pp. 209-22.
  • Flynn, William. “Reading Hildegard of Bingen’s Antiphons for the 11,000 Virgin-Martyrs of Cologne: Rhetorical ductus and Liturgical Rubrics.” Nottingham Medieval Studies 56 (2012), pp. 174-89.
  • Flynn, William. “Hildegard (1098-1179) and the Virgin Martyrs of Cologne.” In The Cult of St Ursula and the 11,000 Virgins. Ed. Jane Cartwright. University of Wales Press, 2016, pp. 93-118.
  • Walter, Peter. “Die Heiligen in der Dichtung der hl. Hildegard von Bingen.” In Hildegard von Bingen, 1179-1979. Festschrift zum 800. Todestag der Heiligen. Ed. Anton Ph. Brück. Mainz: Selbstverlag der Gesellschaft für mittelrheinische Kirchengeschichte, 1979, pp. 211-37, at 223-29.
  • For a discography of this piece, see the comprehensive list by Pierre-F. Roberge: Hildegard von Bingen (1098-1179) - A discography

Wednesday, August 7, 2019

Studium divinitatis

Antiphon at Lauds (likely for Psalm 92[93]) for St. Ursula and Companions Back to Table of Contents
(D 167v, R 471vb-472ra) by Hildegard of Bingen
Studium divinitatis
in laudibus excelsis osculum pacis
Ursule virgini
cum turba sua in omnibus populis dedit.
The zeal of divinity
gave with heaven’s praise the kiss of peace
to Ursula the virgin
and her brood among all peoples.
Latin collated from the transcription of Beverly Lomer and the edition of Barbara Newman; translation by Nathaniel M. Campbell.



The following recording by Anonymous 4 sets the antiphon together with Psalm 92) (video 36:28-41:05):





Transcription and Music Notes
by Beverly Lomer

E mode
Range: D below the final to C above
Setting: syllabic

In this short antiphon, Hildegard employs E as the primary grammatical marker. However, the outlining of phrases with the final is not as tightly organized as it is in other works. For example, the first phrase ends on G. We considered using studium divinitatis as the first phrase, with in laudibus beginning the second on B, the usual secondary tonal grammatical pitch in this mode. That solution, however, would result in other, more unusual notes as phrase punctuators. Thus, what we have is a mixture of E, G and A as punctuation devices.

Consequently, the phrasing in the transcription splits the word sense in some cases. Alternatively, the first two lines of the transcription can be understood as one single phrase, with E marking the beginning and the end on the word pacis. I split the phrase after the G on laudibus so that the next line could begin on A, an acceptable tonal marker for Hildegard in E mode.

Musically, the most appropriate first line could end with divinitatis, in which the next line could begin with B, also an accepted tonal marker, and continue on to conclude on pacis. This would make a long phrase to sing, and to make the transcription readable would have to be split into two lines at any rate. Similarly, the last two lines can be conceived as a single phrase, again a long one. In singing, depending on how the performers interpret the phrasing, pauses for breath, if needed, could be either very quick or more determinate in terms of punctuating the long phrases.

Further Resources for Studium divinitatis
  • Hildegard of Bingen, Symphonia, ed. Barbara Newman (Cornell Univ. Press, 1988 / 1998), pp. 236 and 309-11.
  • Berschin, Walter. “Eine Offiziendichtung in der Symphonia Hildegards von Bingen: Ursula und die Elftausend Jungfrauen (carm. 44).” In Hildegard of Bingen: The Context of her Thought and Art. Ed. Charles Burnett and Peter Dronke. London: The Warburg Institute, 1998, pp. 157-62.
  • Flanagan, Sabina. “Die Heiligen Hildegard, Elisabeth, Ursula und die elftausend Jungfrauen.” In Tiefe des Gotteswissens - Schönheit der Sprachgestalt bei Hildegard von Bingen. Ed. Margot Schmidt. Stuttgart-Bad Cannstatt: frommann-holzboog, 1995, pp. 209-22.
  • Flynn, William. “Reading Hildegard of Bingen’s Antiphons for the 11,000 Virgin-Martyrs of Cologne: Rhetorical ductus and Liturgical Rubrics.” Nottingham Medieval Studies 56 (2012), pp. 174-89.
  • Flynn, William. “Hildegard (1098-1179) and the Virgin Martyrs of Cologne.” In The Cult of St Ursula and the 11,000 Virgins. Ed. Jane Cartwright. University of Wales Press, 2016, pp. 93-118.
  • Walter, Peter. “Die Heiligen in der Dichtung der hl. Hildegard von Bingen.” In Hildegard von Bingen, 1179-1979. Festschrift zum 800. Todestag der Heiligen. Ed. Anton Ph. Brück. Mainz: Selbstverlag der Gesellschaft für mittelrheinische Kirchengeschichte, 1979, pp. 211-37, at 223-29.
  • For a discography of this piece, see the comprehensive list by Pierre-F. Roberge: Hildegard von Bingen (1098-1179) - A discography