Hildegarda de Bingen Ordo Virtutum Vídeos
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Hildegard Bingen Fassler 1098 1150 1165 1179
Blessed Hildegard of Bingen (German: Hildegard von Bingen) +••.••(...) September 1179), also known as Saint Hildegard, and Sibyl of the Rhine, was a Christian mystic, German Benedictine abbess, visionary, and polymath. Elected a magistra by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama. Attention in recent decades to women of the medieval church has led to a great deal of popular interest in Hildegard, particularly her music. Between 70 and 80 compositions have survived, which is one of the largest repertoires among medieval composers. Hildegard left behind over 100 letters, 72 songs, seventy poems, and 9 books. One of her better known works, Ordo Virtutum (Play of the Virtues), is a morality play. It is unsure when some of Hildegard's compositions were composed, though the Ordo Virtutum is thought to have been composed as early as 1151. The morality play consists of monophonic melodies for the Anima (human soul) and 16 Virtues. In addition to the Ordo Virtutum Hildegard composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from Symphonia are set to Hildegard's own text and range from antiphons, hymns, sequences, to responsories. Her music is described as monophonic; that is, consisting of exactly one melodic line. Hildegard's compositional style is characterized by soaring melodies, often well outside of the normal range of chant at the time. Additionally, scholars such as Margot Fassler and Marianna Richert Pfau describe Hildegard's music as highly melismatic, often with recurrent melodic units, and also note her close attention to the relationship between music and text, which was a rare occurrence in monastic chant of the twelfth century. Hildegard of Bingen's songs are left open for rhythmic interpreation because of the use of neumes without a staff. The reverence for the Virgin Mary reflected in music shows how deeply influenced and inspired Hildegard of Bingen and her community were by the Virgin Mary and the saints. The definition of 'greenness' is an earthly expression of the heavenly in an integrity that overcomes dualisms. This 'greenness' or power of life appears frequently in Hildegard's works. Hildegard's musical, literary, and scientific writings are housed primarily in two manuscripts: the Dendermonde manuscript and the Riesenkodex. The Dendermonde manuscript was copied under Hildegard's supervision at Rupertsberg, while the Riesencodex was copied in the century after Hildegard's death.
Saint Hildegard Bingen 1098 1150 1165 1179 2012
Saint Hildegard of Bingen, O.S.B. (German: Hildegard von Bingen; Latin: Hildegardis Bingensis) (1098 – 17 September 1179), also known as Saint Hildegard, and Sibyl of the Rhine, was a German writer, composer, philosopher, Christian mystic, Benedictine abbess, visionary, and polymath. Elected a magistra by her fellow nuns in 1136, she founded the monasteries of Rupertsberg in 1150 and Eibingen in 1165. One of her works as a composer, the Ordo Virtutum, is an early example of liturgical drama and arguably the oldest surviving morality play. She wrote theological, botanical and medicinal texts, as well as letters, liturgical songs, and poems, while supervising miniature illuminations in the Rupertsberg manuscript of her first work, Scivias. Although the history of her formal recognition as a saint is complicated, she has been recognized as a saint by parts of the Roman Catholic Church for centuries. On 7 October 2012, Pope Benedict XVI named her a Doctor of the Church.
Manuscript and score of Hildegard von Bingen's Ordo Virtutum ("Order of the Virtues"), composed around 1150. Patreon: (http•••) Website: (http•••) Ordo Virtutum is an allegorical morality play, or liturgical drama composed during the construction and relocation of her Abbey at Rupertsberg. It is the earliest morality play by more than a century, and the only Medieval musical drama to survive with an attribution for both the text and the music. A short version of Ordo Virtutum without music appears at the end of Scivias, Hildegard's most famous account of her visions, and is also included in some manuscripts of the Symphonia armoniae celestium revelationum ("Symphony of the Harmony of Celestial Revelations"). But the music score is found on the Riesencodex or Wiesbaden Codex, a vast codex containing the abbess' works. The subject of the play is not typical for a liturgical drama. It shows no biblical events, no depiction of a saint's life, and no miracles. Instead, Ordo Virtutum is about the struggle for a human soul, or Anima, between the seventeen Virtues and the Devil. The idea that Hildegard is trying to develop in Ordo Virtutum is the reconnection between the "creator and creation". The work's story can be divided in a prologue and four more parts. This video contains the prologue (first part) and the second part.
Nigel Rogers Claudio Monteverdi Christopher Hogwood Jacopo Peri Orazio Vecchi Adam Halle Hildegard Bingen Cavalli Rossini Nikolaus Harnoncourt Robert Dowland Dowland Andreas Scholl Ian Bostridge 1150 1494 1598 1607 1610 1629 1639 1935 1968 1973 1979
Nigel Rogers, Tenor +••.••(...)) Claudio Monteverdi: "Exulta filia Sion" (Rejoice, Daughter Of Zion) Motet, 1629 Claudio Monteverdi. "Possente spirito" (Mighty Spirit And Formidable God) from L'ORFEO, 1607 Conducted by Juergen Juergens and Christopher Hogwood My personal opinion: Maybe even among music lovers, some people believe the first opera was Monteverdi's L'ORFEO (1607), but the expert knows better: Already nine years before, composer and singer Jacopo Peri created the earliest known work we name an opera: DAFNE (1598). Unfortunately the music seems to be lost forever, apart from some fragments. Just as biological evolution, also evolution of music and opera was a flowing process. Considering that opera means nothing more than opus (a work of the music theater), can we still categorize Peri's DAFNE as the very first opera? What about Orazio Vecchi's madrigal comedy L'AMFIPARNASSO, one year before DAFNE? And what about Angelo Poliziano's LA FABULA DI ORFEO, a 1494 musical play with singing and dancing, 113 years before Monteverdi? Another 211 years back in time, we are in 1283, the year in which presumbably Adam de la Halle's LE JEU DE ROBIN ET MARION was first performed. Some music historians even call this work "a medieval opera" - more than 300 years before Peri and Monteverdi. The highlight of the fine score is the beautiful song "Robin m'aime", probably the very first melodic love theme in history. And we can go back even further in time to Hildegard von Bingen and her allegorical play ORDO VIRTUTUM (c. 1150), the only medieval music drama of the 12th Century that has completely survived. But now let us return to the Italian Baroque Opera in the beginning of the 17th Century. The term 'opera' was first used in 1639, the year of Cavalli's LE NOZZE DI TETI E DI PELEO (later again set to music by Rossini), two years after the first music theater for the people opened in Venice. There is no need to say, in those days the art of singing was quite different from what we know today. In the first opera houses, without any amplification systems, singing was a sensitive and delicate subject matter, and to bring back to our modern ears this kind of music, it needs specially trained voices. Fortunately the 'Historical Performance Practice' produced over the past decades many ambitious singers and conductors of authentic interpretations. One of the most interesting is Nigel Rogers (*1935), a multi-talented musician. Tenor, professor at the Royal College, founder of a choral ensemble and conductor. With Peri and Monteverdi came the dawn of the 'aria virtuoso' (after monody replaced the traditional polyphony), and with his superb recording of "Possente spirito" from L'ORFEO, Nigel Rogers give us a vivid impression of the playful embellishments and ornamentations in early baroque opera. After his participation in Nikolaus Harnoncourt's pioneering 1968 L'ORFEO production, Rogers recorded the title role twice: First in 1973 under Juergen Juergens, once again a decade later under Charles Medlam. Rogers' technique of coloratura in both recordings is amazingly stunning, almost "unearthly" - to use a description from an English critic. The spectacular performance corresponds to the plot of the story: Orpheus tries to appease the dark ferryman Charon with his transcendental singing... With his very specialization (and the innocuous appearance of an accountant) naturally Nigel Rogers' could not make a popular career. He remained a specialist, an insider's tip. The musician was prudent and concentrated on what he dominated. In the L'ORFEO under Medlam, he additionally led his own crew, the 1979 founded Chiaroscuro choral ensemble. Rogers' voice was a small, almost thin tenor, and - like the voices of many other English tenors - a little bit 'anemic'. But if we compare, for instance, his singing of "Passava amor" from A MUSICALL BANQUET (1610, compiled by Robert Dowland) with the weird womanish falsetto cheeping of the high-praised Andreas Scholl, we can discover with Nigel Rogers a certain charm which imposes itself not immediately. Well, if you don't like early music, you surely will not find any pleasure in Rogers' voice. But if you like Baroque and Old English music, you can't ignore this dedicated and eclectic gentleman. He gave us an impression what pure singing is beyond the questionable modern taste of time with all its oddities à la Ian Bostridge. Nigel Rogers died January 19, 2022.
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