Hildegard von Bingen's music and spiritual illuminations

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),"

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."

Bishop 40) Throughout the play, the Soul struggles "to overcome the temptations of the world with the assistance of the Virtues. As the Soul and Virtues are ultimately re-united in celestial harmony, the devil...is bound and cast out." (Reichardt 165)

To understand the play requires significantly more than understanding its characters and plot. It is also important to glean from the text used what powerful messages are being communicated that uplift, instruct and inspire. One line from the Virtues is "we shine with the Word of God." Again in brief and eloquent language, von Bingen illustrates how each virtue is not simply admirable but is a Godlike quality worthy of embodying and essential for overcoming evil. It is the analysis of single lines that displays von Bingen's strength and understanding of musical composition and liturgical construction.

One of the most powerful elements of the Ordo Virtutum is the finale wherein Christ speaks. The Christ character uses von Bingen's poetic dialogue to speak with God the father "reminding the Father that his tired limbs are the people struggling right now to put on the jeweled Virtues, which will complete his glorious body on earth." (Rosenthal 12) it is a magnificent and stirring end to the play which beautifully sustains faith and promotes Christian dogma.

Conclusion

Following her death in 1179 Hildegard von Bingen or Sibyl of the Rhine was beatified. Although often referred to as St. Hildegard she has never actually been canonized. Some of this may have been due to the fact that poor records were kept regarding the miracles with which she was associated and some of it may be simply a function of priority of the Catholic Church. Whatever the case, she is a saint to many who understand her life. As a philosopher, composer, teacher, abbess and to many a prophetess, von Bingen is one of the most significant contributors to the development and promotion of medieval mysticism. The fact that her work is still being studied and reproduced more than 900 years after her death is illustrative of the staying power of her compositions.

Works Cited www.questia.com/PM.qst?a=o&d=35452501

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Annotated Bibliography of Materials in the English Language. Westport, CT: Greenwood Press, 1996.

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Scivias. Trans. Hart, Mother Columba, and Jane Bishop. New York: Paulist Press, 1990.

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Von Dehsen, Christian D., ed. Philosophers and Religious Leaders. Phoenix: Oryx Press, 1999.

Hildegard von Bingen