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- W2892917828 abstract "From the construction of the great cathedrals to the cosmic visions of Hildegard von Bingen, music from the lifetime of Raymond Lully, and lamentations of death, this collection of CDs leads us on a geographical journey through centuries of medieval music. The six recordings under review here present a diverse selection of music from across the medieval period, both instrumental and a cappella, that draw upon on these varied themes. Of the six recordings featured, three focus on the music of the 12th-century abbess, mystic, writer and composer, Hildegard von Bingen. A celebrated female figure who has long been of interest to historians and musicologists alike, her enduring legacy continues to provoke scholarly interest and debate. The following three recordings of Hildegard’s music represent a varied selection of her music, each one presenting a unique, yet—I would argue—valid, interpretation. Hildegard von Bingen: Ego sum homo (Ricercar ric 383, issued 2017, 64′), is a recent recording by the Prague-based Tiburtina Ensemble. An all-female group established in 2008, led by artistic director Barbora Kabátková, they present a selection of eleven works by Hildegard including antiphons, the hymn Cum vox sanguinis and the Ave Maria responsory. These are interspersed with four anonymous pieces from the same century, including a setting of Psalm 8, Domine, Dominus noster, a text that resonated with Hildegard, and as Barbora Kabátková writes within the liner notes, ‘Despite all her divine visions, Hildegard did not forget that she was human. She often asked herself, quoting Psalm 8: “What are humans that you are mindful of them?”’ Recording within the walls of the 12th-century Cistercian monastery in Osek in the Czech Republic, the Tiburtina Ensemble has certainly used the acoustics advantageously, the setting creating an ethereal quality to the sound. The group presents sensitive vocals that soar around the characteristically wide vocal range found in Hildegard’s compositions with colour and impressive clarity. There is an interesting use of instrumentation, with the inclusion of stringed instruments found in the Old Testament with which Hildegard would have been familiar: the Gothic and Romanesque harps, and dulce melos. The group acknowledges within the liner notes, that including improvised accompaniments using these instruments was something of a challenge to them, though it is one to which they have most certainly risen." @default.
- W2892917828 created "2018-10-05" @default.
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- W2892917828 date "2018-08-01" @default.
- W2892917828 modified "2023-09-25" @default.
- W2892917828 title "Mystics, philosophers, and lamentations of death" @default.
- W2892917828 doi "https://doi.org/10.1093/em/cay056" @default.
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