Columba aspexit

Sequence for St. Maximin [May 29] (R 476rb-va) by Hildegard of Bingen Back to Table of Contents

1a. Columba aspexit per cancellos fenestre, ubi ante faciem eius sudando sudavit balsamum de lucido Maximino. 1b. Calor solis exarsit et in tenebras resplenduit, unde gemma surrexit in edificatione templi purissimi cordis benivoli. 2a. Iste, turris excelsa de ligno Libani et cipresso facta, iacincto et sardio ornata est, urbs precellens artes aliorum artificum. 2b. Ipse, velox cervus, cucurrit ad fontem purissime aque fluentis de fortissimo lapide, qui dulcia aromata irrigavit. 3a. O pigmentarii, qui estis in suavissima viriditate hortorum regis, ascendentes in altum quando sanctum sacrificium in arietibus perfecistis: 3b. Inter vos fulget hic artifex, paries templi, qui desideravit alas aquile, osculando nutricem Sapientiam in gloriosa fecunditate Ecclesie. 4a. O Maximine, mons et vallis es, et in utroque alta edificatio appares, ubi capricornus cum elephante exivit, et Sapientia in deliciis fuit. 4b. Tu es fortis et suavis in cerimoniis et in choruscatione altaris, ascendens ut fumus aromatum ad columpnam laudis: 5. Ubi intercedis pro populo qui tendit ad speculum lucis, cui laus est in altis.

1a. A dove peered in through latticed window pane, and there before its face the balsam dripped, distilled from glinting Maximin. 1b. The warmth of sun blazed up and sparkled in the darkness—then a budding gem sprang up within the temple’s court— his kindly, cryst’lline heart. 2a. A lofty tower, he, of Libanus’ wood and cypress, with jacinth and with ruby set— a city finer crafted than the work of other craftsmen. 2b. A stag so swift, he raced to reach the purest waters’ font that flows from firmest stone to water spices sweet. 3a. O crafters of perfume, of chrism spice, who dwell amidst the sweet viridity of the garden of the King, you mount on high when the holy sacrifice you have performed with rams. 3b. Among you shines this artisan—the temple’s wall who longed for eagle’s wings to kiss his nursemaid Wisdom in Mother Church’s glorious fecundity. 4a. O Maximin, both mount and vale, in each a lofty shelter you appear where mountain goat and elephant together tread, and Wisdom relishes. 4b. Both strong and sweet you are in sacred rites, the altar’s radiance, ascending like an incense cloud unto the plinth of praise: 5. Where for the people now you intercede who strive unto the mirror of that light whose praise resounds on high!

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

Mode: C
Range: G below the final to D an octave and a second above
Setting: neumatic/syllabic

In this long sequence for St Maximin, Hildegard generally employs the final and the fifth (G) as grammatical phrase markers. As is typical, however, other tones are used, though only infrequently.

One of the identifying characteristics of the sequence form is the melodic parallels within the verses. Again, Hildegard follows this protocol overall while also diverging from it at several points—a key characteristic of her compositional style.

In the transcription, we have had to make choices as to how to phrase the parallel melodies, as in some cases it was possible to create long phrases that also displayed parallel melodies. Verses 2a and 2b especially stand out. We made the decision to break the lines into short phrases so as to showcase as much of the melodic similarity as possible. Performers can choose to follow this division or to combine two or more phrases. As always, we have no definitive idea as to what Hildegard’s actual intentions were or how her music was performed. Therefore, as Angela Mariani and Timothy McGee advise, our decisions reflect our own interpretations, and the guiding principle needs to be effective performance.

In two cases (page 4 of the transcription) the phrases are too long for one staff. Therefore, a tick barline has been placed at the end of the phrase. Lines 3 and 4 comprise one phrase, as do lines 8 and 9.

Further Resources for Columba aspexit

• Hildegard of Bingen, Symphonia, ed. Barbara Newman (Cornell Univ. Press, 1988 / 1998), pp. 212-14 and 302-303.
• For a discography of this piece, see the comprehensive list by Pierre-F. Roberge: Hildegard von Bingen (1098-1179) - A discography