Jürg Stenzl: Wie hat „Hildegard vom Disibodenberg und Rupertsberg“

komponiert? Ein analytischer Versuch mit den E-Antiphonen und dem Ordo Virtutum*

Stylistically, Hildegard von Bingen’s body of seventy-five songs is without parallel among both extant liturgical music up to 1100 and music originating in the twelfth century. The songs defy analysis when adopting the criteria of music theory of that era. Both surviving manuscripts came from the confines of her closest circle; the songs were hardly known. The forthcoming analysis of the diversity found in Hildegard’s songs, which textually and melodically correspond to her visions, takes as a point of departure those based on E (employed most frequently in the songs), and they are subsequently compared to the songs (also on E) from the “drama” Ordo virtutum. Selected antiphones on E illustrate the relationship between Hildegard’s melodies and texts. Hypothetically it would be possible to envisage Hildegard’s songs as incorporating the melodic principles of a twelfth-century oral tradition―if one will, the “folkmusic” of her day―due to traits otherwise hardly encountered in notated twelfth-century music.

Ø zurück zur homepage

Ø zurück zum Gesamtinhaltsverzeichnis