Hildegard of Bingen: life and contributions

Hildegard Von Bingen

Listening to the music of von Bingen may be one of the most effective ways to relive the twelfth century that is currently available. The stirring and emotionally engaging vocals bring to mind the imagery of the Christian artists of the dark ages as well fill the mind with deep contemplative thoughts. von Bingen's contributions to the Christian world, though less known than many other scholars are nonetheless significant and powerful. When considering the territory that is modern day Germany many associate the major religious influences with the powerful reformer Luther. But antedating Luther was a woman who used her power not to foment change but to illuminate, uplift and enlighten. That woman was Hildegard von Bingen, the tenth child of a noble family who as born in Bckelheim. Born in 1098, von Bingen made a significant impact on the twelfth century church through leadership and writing and yet she is perhaps best known for the amazing works of music that she produced.

In order to understand von Bingen it is useful to provide some small detail about her early life and circumstances. In addition, it is important to gain an insight into the influences that helped to shape this amazing woman into the figure that many refer to as St. Hildegard. Through examining important events, celestial visages and important influences it is possible to comprehend how von Bingen was inspired to create some of the most hauntingly beautiful pieces of music that have emerged from Christianity throughout its two thousand year history. Thus, to understand the woman's music, it is important to understand the woman herself.

Background

As the tenth child of a noble family, von Bingen's birth in the late eleventh century was a predetermining factor for the manner in which she was raised. During medieval times it was customary to commit the tenth or tithe child to the service of the church because even among noble families it was difficult to feed a family of that size. At a young age, von Bingen displayed impressive qualities that indicated she was both gifted and unique. As a result, she was sent along with other young girls to study with the anchoress Jutta von Spanheim who was perhaps the most significant influence in von Bingen's early understanding of Christian doctrine. Life with the anchoress was ascetic and filled with self denial even for twelfth century standards which were already harsh and difficult. Hildegard learned from a young age the value in putting aside the needs of the flesh in pursuit of the spiritual as she studied and fasted and worked. During her life before coming to the anchor and continuing throughout the remainder of her mortal existence, von Bingen experienced a series of heavenly illuminations that frightened and inspired her. Afraid of what might be thought of her, she confided only in Jutta von Bingen and a monk named Volmar who would become her life long secretary. This is an interesting role reversal that was extremely uncommon for the era. "While Volmar was initially Hildegard's teacher and served as provost of her convent, in the second half of her life she exercised an unmistakable intellectual and spiritual dominance." (Eigler and Kordet 52) in this change of responsibility it is clear that the traditional roles that women were expected to play would not be a limiting factor in von Bingen's life.

In 1136 when von Bingen was approximately 38 years old, Jutta von Spanheim died. The role of caring for the other girls who were in the care of the anchoress fell to von Bingen who accepted it readily. She moved the group of girls in her charge to a location near the Rhine River. It was at this point that she also accepted her calling as prophetess. The two important distinctions have led her to frequently be referred to as Sibyl of the Rhine. (Von Dehsen 86) von Bingen's maturity had brought with it the development of a powerful intellect in addition to the gifts that she naturally possessed in music and in spirituality. She wrote on such diverse topics as the nature of God to the proper use of plants and animals necessary for treating the four humours. As a healer, von Bingen researched the effects of different substances on human health and made remarkable progress given the lack of scientific knowledge available in medieval times. Some of her scientific works are recorded in Physica and Causae et Curae which are considered some of the most advanced work of the time.

A von Bingen made significant contributions to Christian writings as she produced materials that helped to explain and refine Christian theology. Some of her most recognized writings include the materials included in her work entitled Scivias. "The Scivias (that is, Sci vias lucis, Know the Ways of Light) is her most important theological work. Finished before 1151, it is a spiritual compendium remarkably illustrated with colored pictures." (Tavard 3) Other works of von Bingen include Liber Vitae Meritorum ("Book of Life's Merits") and Liber Divinorum Operum ("Book of Divine Works"). These works contributed to both her fame and the scorn that she received from the male clergy who viewed these works with skepticism and accused her of pride.

To many modern scholars, von Bingen is among the first feminists who illustrated with magnificent effect the contributions that women could make in any field. But von Bingen was not interested in starting a sexual revolution or of creating a war between the sexes. Instead, von Bingen sought to act on the gifts that she had been given by her Creator and act upon her sphere of influence which she sought to increase precisely because of her belief in God. Ferrante puts it eloquently:

Some women, like Hildegard of Bingen, use the disadvantage of their sex to their advantage, turning the perceived weakness to strength. None is able, like the men around them, to speak for the whole of mankind as if there were no other sex, though Hildegard comes close, since she speaks for God. (7)

In spite of her clear recognition of the supremacy of the Pope and the male clerical hierarchy, von Bingen received great criticism. Some of the most significant chastisement she received came as a result of her musical work which used elaborate costumes and extremely high notes which were offensive to some church officials. Nevertheless she was viewed as one of the most influential figures that contributed to the mysticism of Christianity.

Musical Inspiration von Bingen was deeply moved to create music because of her religious beliefs about what musical expression was. From von Bingen's perspective, music was one of the ways to most appropriately worship God. Before the fall of Adam, von Bingen surmised that Adam's voice was pure and would be lifted up in worship of God and would be joined by hosts of angels. After the fall, von Bingen concluded that musical instruments were invented to enable man to worship God in an appropriate manner. These influences were reflected in her music and helped to craft a musical style that was inspiring and moving. It is precisely the element of worship as a component of music that inspired her to write the lines of the Devil without music. All of the Devil's lines are delivered a melodically so as to underscore the distinct difference between his efforts and the efforts of man.

Some of the instruments that von Bingen used in her music had specific symbolism to her. For example, the flute is symbolic of the breath of Holy Spirit with its subtle airy sound and gentle nature. Another instrument that was important was the trumpet. With strong, powerful notes, the trumpet was often used as the voice of the prophets who cried repentance and gave instruction to the Lord's people. Other instruments such as the harp, strings and psaltery were used extensively in von Bingen's work and gave it an otherworldly quality that is designed to communicate with the human soul. Interestingly, it is von Bingen's vocal compositions that are her most impressive body of work. This is in part due to the lyrics that were used and in part due to the construction of the pieces themselves. For von Bingen, the most powerful instrument remained the human voice.

A significant influence that is quite unique to von Bingen is sometimes referred to as her personal awakening. "In 1141 Hildegard had a vision in which God gave her the gift of instantaneous understanding of religious texts and directed her to record her mystical experiences. These visions became the basis for some of the most important mystical writings of the Middle Ages. Her most popular theological work, Scivias (Know the Ways),"

Von Dehsen 86)

She had received similar visions throughout her life which had explained the mysteries of heaven to and inspired her to continue with her various vocations as student, abbess and philosopher but this vision had been different. For much of her life she had feared the brilliant visages and had fought the inclination to write anything regarding them. In fact, for the most part the events were a secret to virtually everyone in the world except for a few trusted confidants. At 42, von Bingen records that she was instructed by heavenly forces to begin writing down the content of her visions but still refused to do so out of humility. In time, the overwhelming forces that directed her life demanded her compliance and she acquiesced. With the sanction of Pope Eugenius, von Bingen recorded detailed accounts of the visions. The writings of her visions are contained in the Book of Life's Merits and the Book of Divine Works and serve as the inspiration for many of her additional works.

One final inspiration that is worthy of note comes from the time that von Bingen spent in the anchorage studying under Jutta von Spanheim. The deeply reverent and focused experience no doubt led to von Bingen's music possessing an echoing and solemn quality. When the music is performed, it is not difficult to conjure up the images of young pious children studying at the feet of an anchoress who had dedicated her life to studying and contemplation. This experience served as a dual edged sword for von Bingen who had failed to fully master the Latin that she would eventually write in. Thus her deep and abiding religious zeal was tempered by a continual reliance on secretaries to assure that the work was recorded properly.

Musical Works von Bingen is perhaps best known for her musical contributions which have undergone a rebirth of sorts in recent years. Many recordings have been made of her amazingly complex texts set to music that were written in Latin. Some of the recordings have been made in the original language and some have been translated in hopes of reaching a wider audience. In 1998 a full recording of von Bingen's Play of Virtues was recorded and is available for purchase on CD and can be downloaded from commercial retailers for $.99 a song. In this release her work is reaching its widest audience ever.

The musical sounds and messages conveyed by von Bingen's work are designed to convey the joy and beauty of paradisiacal earth with all of the peace and spirituality that existed. She accomplishes these objectives through the plainchant tradition of writing a single line of melody that is accompanied by complex instrumental accompaniment. Her "music reflected practices of contemporaneous Gregorian chant, but she introduced innovative elements such as unusually large leaps in the melodic line and a remarkable thirteen note range that lend a particularly ethereal quality to her works."

Reichardt 165) von Bingen wrote significantly fewer instrumental works than she did texts set to music. This is no doubt the result of the significant importance she placed on conveying important information with her lyrics.

A von Bingen wrote metaphorically in both her text and her musical works using elegant language to communicate her message. In fact, the complexity of the information conveyed by her works is being researched today and is still found to be difficult to fully comprehend. Throughout the music created by von Bingen it is clear that she maintains relative orthodoxy but adds an exciting and exhilarating flare to the presentation of the information. The beauty of the message is only surpassed by its ability to teach through the use of symbols and metaphors. With the musical pieces she illustrates both the importance of various saints and religious figures as well as expounding on the personal importance of the lives of those mentioned to the congregations that heard the works.

The musical works for which von Bingen is best known are categorized in different ways. Many of the collected works of von Bingen have been assembled in the Symphony of the Harmony of Celestial Revelations. These works consist of "hymns and sequences...to be used in the daily services of the convent." (Emerson 69) Another of her independent works is an opera entitled Ordo Virtutum ("Play of Virtues"). These works and others represent the nature and power of von Bingen and fully illustrate the lasting and meaningful work of such an inspirational composer. The ultimate goals of the works were designed to express von Bingen's spirituality in the most powerful way she was capable of creating.

Symphony of the Harmony of Celestial Revelations

The symphony is actually a collection of various works that were used for different reasons. Nevertheless the music is compelling and the text is instructive. In the symphony "the explicit subject is, as we'd expect, more often Mary or a saint than Jesus. Yet, as we'd also expect, he is everpresent, in metaphor, as the meaning of their meaning." (Rosenthal 12) it is the use of metaphor and symbolism that is often similar to the manner in which Christ taught his parables with their meanings within meanings. One stanza when translated reads:

He is the light, the blossom, the dawn, that issued from Mary." In this one line, the nature of Christ, the purpose of Christ and meaning of Christ are all captured without having mentioned his name. von Bingen glorifies the virgin mother who is responsible for providing the salvation of the world. As the line is further considered one point that comes to mind is the description of Christ as the "dawn." This wording is potent as it communicates a renewing and a beginning that is embodied in the living God.

Other components of the Symphony of the Harmony of Celestial Revelations help to capture the crucifixion and the importance and horror of the event. The text from von Bingen that reads "put on vestments / woven of flesh / cut from a woman / born of Adam / to bleach the agony out of his clothes" speak directly to the heart of both believer and non-believer. For believers the text is almost crippling in its stark depiction of the events. The phrase "cut from a woman" reminds the listener of the mortal frame in which their savior was embodied and unable to escape the pain that he would willingly bear. Further, the imagery depicted by the line "to bleach the agony out of his clothes" reminds each believer of the debt that one whom they had never met was willing to pay on their behalf.

Other lines such as "Your flesh held joy / like the grass when the dew falls / and floods it with living green. / So it was in you also, / O Mother of all joy" help to reinforce and sustain the image of the Virgin Mary. (Fulton 395) as a metaphor, the lessons being taught are introduced to the mind with beauty and power. The instruction is dogmatic and forceful leaving little doubt about not only what should be thought but insisting on what must be thought.

Each of the pieces within the symphony is capable of conjuring up the import of the lives of saints, virgins and Jesus Christ but is capable of much more. Within the music lies a poetic transmission of subliminal effect that brings the images crafted during medieval times directly into the mind's eye. Stained glass images of fallen saints, cloisters appointed with paintings of martyred believers and dramatic scenes of unflinching belief in the face of unbelievable agony are as visible as if they were being shown in an auditorium. If this had been the only work of von Bingen it would have been sufficient for her continued renown but she was capable of still more.

Ordo Virtutum

The Ordo Virtutum ("Play of Virtues") "Unlike other moralities, it is set entirely to music, with the exception of the devil's speeches; as the spirit opposed to all harmony, he is incapable of song." (Bishop et al. 26) but this is just the beginning of its unique nature. The Play of Virtues is the first recorded morality play and is as powerful as it was revolutionary. The play was "the first "liturgical morality play, in its musical, theological, and drama-historical contexts." (Rust 215) No doubt this new type of musical presentation was as effective in its ability to draw listeners as it was to inspire them. In the play "various human vices are given demonic features in their ongoing battle with virtues for possession of the human soul." (Eigler and Kordet 87) to accomplish this, the play "Opposes the voices of women representing the various virtues twined together in harmony to the rough, raucous male voice of the devil, which disrupts the musical fabric." (McNamara 328) "The seven principal Virtues... are Humility, Charity, Fear of God and Obedience on the right, and Faith, Hope and Chastity... Humility is the queen of Virtues...but Charity is the most important and has the longest speech."