- O cohors milite floris, antiphon for the apostles
- O successores fortissimi, antiphon to the confessors
- O vos imitatores excelse, response for the confessors
- O dulcis electe, response for St John the Evangelist
- O victoriosissimi, antiphon for the martyrs
- O cruor sanguinis, antiphon
- O vis eternitatis, response
- O splendissima, antiphon
Since the rediscovery of the remarkable twelfth century polymath Hildegard of Bingen -- poet, composer, artist, theologian, visionary, confidante of rulers and Popes -- her music has appeared on disc in a remarkably broad variety of interpretations, from those most sensitive to period performance practice to reconstructions that probably would have been unrecognizable to the composer. Her music has such strength, communicativeness, and universality that it retains its power even in some of the most unusual contemporary realizations. These performances by the Oxford Camerata, conducted by Jeremy Summerly, however, fall at the most austere end of the spectrum and apply the performance practices of cloistered plainsong to Hildegard's music. It's a valid approach that provides a bracingly plain version of the music, which in the absence of more detail in Hildegard's notation may or may not be "authentic," a quality that will forever be the subject of speculation. The philosophy of "when in doubt, do no harm," results in performances that follow the traditional liturgical convention of a solo voice being followed by a unison choir. Even in this plainest of presentations, with no drones, harmonies, or instrumental accompaniment, the eccentricity and originality of Hildegard's compositional voice is irrepressibly evident in most of these antiphons and responsories. Unconventional linear motion, such as melodies that rise from the root to the fifth to the octave, marks Hildegard as a true original; she is one of the earliest composers to have an easily recognizable "style." (Several selections, though, such as "O successores," seem uncharacteristically conventional for the composer.) The singing is very straight and pure, and may seem bloodless to listeners accustomed to more expressive interpretations that allow the music to more directly evoke the ecstatic imagery of her poetry. For anyone interested in the most conservative interpretation of Hildegard's music, this CD should be of interest.
Most Helpful Customer Reviews
Hildegard of Bingen, "Celestial Harmonies: Responsories and Antiphons" Hildegard is of course the multi-talented abbess from the 12th Century who has been rediscovered to great acclaim in recent years. Her range and accomplishments are legendary particularly, she anticipated many creative progressions of the future, including writing what could be the first Opera. While some recent interpretations of her work have expanded her chorales with instrumentation, this disc focuses on the works in their pure a capella beauty. A quartet of women and a quarter of men, chosen from the Oxford Camerata, alternate on separate pieces. The songs are monophonic chants, drifting on soaring leads that echo within a cathedral. The call and response form of the songs allow sterling solos and lush choirs to compliment each other in turn. It is a pure and lifting sound, both ethereal and moving. The music is wonderful for either communal celebration or quiet comtemplation. Admirers of Hildegard's genius, beautiful voices, plainsong choirs, or Opera will love this smart collection. But Pop music fans shouldn't miss out either. If you like Yma Sumac's high dynamics, Edda Dell'Orso's angelic leads for Ennio Morricone soundtracks, Julee Cruise's TWIN PEAKS work with Angelo Badalamente, or radiant vocalists like Jeff Buckley, Muse, Radiohead, Antony and the Johnsons, Bjork, Vashti Bunyan, or early Joni Mitchell, I highly recommend this as a starter disc.