A History of Classical Music through Recordings: Part 2
Hildegard of Bingen: “A feather on the breath of God”. Gothic Voices/Christopher Page. Hyperion (link)
It’s ironic that the first featured composer in this history should be a woman, given the regrettable absence of women from the ranks of the “great”, or even the “reasonably well known”, composers. Hildegard (1098-1179) was a remarkable woman of her time: an abbess and visionary who corresponded with rulers and popes, toured Germany as a preacher, and produced numerous literary works on religion, medicine, and natural history. She has been an inspiration for feminists and the New Age movement, as well as the subject of four attempts at canonization in the two centuries after her death. In the 1150s, Hildegard collected several dozen of her poems in the work Symphonia armonie celestium revelationum (Symphony of the harmony of celestial revelations), which survives today in two manuscripts that also provide monophonic musical notation. The compositions are mostly antiphons and responsories for the office, as well as some sequences for the mass and a few hymns. Hildegard’s music isn’t based on plainchant and makes use of a small number of melodic patterns that show up in many pieces; it also tends to have a high ambitus (the range of notes in a given piece), which gives it a soaring quality that matches well with the visionary nature of the poems. Hildegard’s fame as a composer is only a recent phenomenon: Gothic Voices’ hugely successful 1982 release was one of the first recordings of her music, though there have been many more since then. Her popularity may give the wrong impression that Hildegard was the only significant composer of her day; the reality of course is that she was just one among many others who weren’t so fortunate as to have their names and biographies preserved for future centuries.