Snider HILDEGARD pv by ScoresOnDemand

Sarah Kirkland Snider

text after Hildegard von Bingen

HILDEGARD

Piano/Vocal Score

From the G. Schirmer Rental Library

Date of Printing________________

Music Sales Corporation

New York, NY

Rights administered by G. Schirmer, Inc. New York, NY

Sarah Kirkland Snider

text after Hildegard von Bingen

HILDEGARD

Piano/Vocal Score

Commissioned by Beth Morrison Projects and the Aspen Music Festival and School with additional commissioning support by William Kennedy

Developed and produced by Beth Morrison Projects

Music Sales Corporation

New York, NY

Rights administered by G. Schirmer, Inc. New York, NY

Instrumentation:

Flute

Clarinet in Bb

Bassoon

Harp

String Quintet

duration ca. 125’

Dramatis Personae:

Hildegard von Bingen, late 30s/early 40s. (soprano)

Richardis von Stade/Angel 3, 20s. (soprano)

Guda/Angel 1, 30s or younger. (soprano)

Clementia/Margravine von Stade/Angel 2, 40s. (mezzo-soprano)

Volmar, 40s. (tenor)

Mechtild, 20s/30s. (tenor)

Abbot Cuno, 40s/50s. (baritone)

Fourth Monk, 30s-50s. (baritone)

Faceless Woman: via projections

Synopsis:

Late 1147 into early 1148, at Disibodenberg Monastery in Rhineland-Palatinate, Germany

The year is 1147, and German Benedictine abbess Hildegard von Bingen has begun transcribing her visions of God to obtain Papal imprimatur, at grave risk of ex-communication. She enlists a young convalescent, Richardis von Stade, to help illustrate her visions, and the two women quickly develop a transformative partnership that awakens them creatively, spiritually, and – much to the internal conflict of both women – romantically. In the meantime, a dispute with Hildegard’s superior costs her and her novitiate daughters the right to make music, underscoring Hildegard’s fundamental lack of agency in the male-dominated monastic culture and jeopardizing her standing within the Church. As Hildegard anxiously awaits the Pope to declare her prophet or heretic, the love between Hildegard and Richardis becomes impossible to ignore, and an unforeseen crisis threatens both their hard-won accomplishments and the intimacy – in all its complexity and secrecy – that has become their salvation.

Immersive and intimate, Hildegard is a tale of two gifted women struggling to find their voices in a time and place where female voices weren’t meant to be heard. A story of love, faith, and enlightenment, the opera is about the desire for connection – to wisdom, to spirituality, to humanity – and the conflicts that compete therein.

Table of Contents:

Act I

Scene 1: 1

Scene 2: .................................................................................................. 15

Scene 3: .................................................................................................. 30

Scene 4: .................................................................................................. 53

Scene 5: 74

Scene 6: .................................................................................................. 98

Scene 7: ................................................................................................ 112

Scene 8: 122

Scene 9: ................................................................................................ 146

Act II

Entr’acte: 164

Scene 1: ................................................................................................ 166

Scene 2: ................................................................................................ 193

Scene 3: 217

Scene 4: 241

Scene 5: ................................................................................................ 256

Epilogue: ............................................................................................... 271

Sarah Kirkland Snider

HILDEGARD ACT 1, SCENE 1

Commissioned by Beth Morrison Projects and the Aspen Music Festival

Sarah Kirkland Snider (2025)

Vision I. HILDEGARD VON BINGEN, alone in the dark, prays at her bedside. She notices a tiny flicker of light on the wall, and approaches it, reaching out slowly to touch it...

Fashing full lights, a brief quasi-strobe effect, reveal veiled angels -- THE VOICES OF THE LIVING LIGHT -- in long white tunics, standing in her room, singing to her.

Cuno

(VOLMARstandsneartheentrancetoCUNO’soffice. CUNOisatworkathisdesk.VOLMARhasalargesatchelwithhim.)

Volmar

Cuno

visions, - they'vegrownmorein-tense: pointed, - and urgent

(considersthis)

(pullsmanuscriptfromsatchel handsittoCuno)

I'llface it glad-ly,Fath-er

(CUNOtakesthetranscriptfromVOLMAR, looksatitskeptically,walkstodesktoexamineit morecarefullyWeseseprojectionsofhervisionoverhead.)

(startingtoseethisfrom adiﬀerentperspective)

faith;

Bar/ Cuno Pno.

Volmar

Bar./ Cuno

Volmar Bar/ Cuno

fal-len cler-ics and way-wardChristians - could

It f wouldbringusgreathonor - power - ful menwouldtravel - here p

(HILDEGARDintheInfirmary,workinga mortarandpestle,makinganherbalpaste.)

(MECHTILDsuddenlyappearsinthedoorway, carryingRICHARDIS,whoisbruised andbarelyconscious)

(HILDEGARDrushestoMECHTILD; theycarryRICHARDIStoabed)

Ifoundheralone - inthewoods, distraught, - confused - Shesaidshe'sanovice - atSchonau, -

ground, shaking - andfrothing - and seiz-ing,shaking - and seiz ing! - TheDev-il

(HILDEGARDwalkstoadrawerofstones,rummagesthroughlookingforan emeraldMECHTILDgoestogetapitcherofwaterfromacrosstheroomand placesitatRICHARDIS'sbedside.HEthenstandsthere,staringatRICHARDIS, wholookstobeasleep)

(MECHTILDfallstohisknees,crosseshimself HILDEGARDrushesbacktoRICHARDIS’s bedsidewiththeemerald,placesitonthebedsidetable MECHTILDremainsonhisknees,cowering)

Leaningforwardq=84 pocoapocoaccel.

(MECHTILDstandsthereawkwardly, staringatRICHARDISwithfear)

(MECHTILDscrurriesover,picksuptheemeraldand awkwardlytriestoholdittoRICHARDIS'sshakingchest)

(RICHARDISstopsseizingHILDEGARDreaches fortheemeraldandputsitintoRICHARDIS'shand, thenclaspsbothherhandsaroundRICHARDIS's handwiththestone,andrecitesaprayer)

(MECHTILDlooksawkwardlyatHILDEGARD andthenRICHARDIS,andbackagain, bowshisheadslightly,andleaves.)

HILDEGARDthenpoursRICHARDISacupofwaterand beginsapplyingointmenttoRICHARDIS'sforeheadwithafeather.)

RICHARDISthenstirs,groans,andtheemerald fallsontothefloor.HILDEGARDpicksitup andplacesitbackintoRICHARDIS’shand, thenstrokesRICHARDIS’shairgently

(RICHARDIScontinuestostare atthefloor,nodsweakly…)

Do mf they beat you for yourEpi - -lep sy? -

(RICHARDISremainsdazed)

Can mp youtellmeyourname?

(HILDEGARDhandsRICHARDISawaxtabletandstylus RICHARDISlooksatherwithsomeincredulity,andthenslowlybegins todraw....)

Perhaps - you'dlike to

(HILDEGARDnoticesthatsheisdrawing ratherthanwritinghername)

I'm p Richar - -dis, Richar - -dis vonStade. pp

vonStade? Yourfather - is

(RICHARDISnodsweakly,lookingat thefloor…thensuddenlystirswithanxiety.)

Rudolf - von Stade, Margrave - of the Nord -mark?

q=72

RICHARDISleansovertovomitintoabucket; HILDEGARDholdsherhairback,rubsherback.

HILDEGARDstrokesRICHARDIS'shair,theneasesherback intobed,puttingthetabletandstylusbackonthebedwithher, whichRICHARDISpicksup;sheresumesdrawing

Light

you'llgrow. The

Light perceives - yourheart andpullsyou clos er. - the

more thatyou create, - thecloser - toLightyou'll grow

(gesturestoRichardis’shead,heart,andhands.)

here, here,and here, it's al read - y - within, - you

ACT1,SCENE4

HILDEGARDmeetswithABBOTCUNOinhisoffice. CUNOisbehindadesk,facingher,organizingmanuscripts Monkssingchantoffstage

CUNOturnshisbackonHILDEGARD, returnstoorganizingmanuscripts

Leaningforwardq=66(q.=44)

(shakesheadinfrustration, turnsbacktoHILDEGARD)

(CUNOscoffs,shakesheadandbeginspacing. Praysforamomenttothecross)

Not

ifyoubelieve - themfromGod,asyou say.

makeno suchclaim! Somebe-

lieveyou aprophet - but Iknownot the plans of God.

Cuno

Abitfasterq=66

(HILDEGARDnodsslightly, bows,andbeginstoleave

ACT1,SCENE5

(RICHARDISiswalkingalonethroughthecloister.CUNOandOTTO passher;SHElooksatthembuttheydonotlookatherRICHARDIS turnstolookbehindher,unsureofherlocation,tryingtoorientherself )

(RICHARDISsteadiesherselfagainst abench,thenpressesonward,enteringaroom intheCloister.)

(AloneintheScriptorium,RICHARDIScautiously walksaroundandexploreswithawethisroomwhere womenwerecustomarilynotallowed)

(HILDEGARDapproachesRICHARDIS, andtakesbothofherhands)

(Richardiscurtsy/bowsinsudden embarrassment/deference)

Father - Volmar - is scribing; - I'dlikeyoutodrawandpaint, helpmecapture - the

im-age, andinthiswayIcanhelpyouconnect - withGod

(HILDEGARDguidesRICHARDIStoa deskwithparchment,tablets,stylus, andpaints;gesturesforhertosit)

But mp Mother, -

Abbot - Cunowillblessthiswork,he has a vested

interest.

Leaningforwardq=112

Forit's act-ually - not agol-den kite,

movesapprehensivelytowardFACELESSWOMAN...)

(Shewincesandstumblesforward, steadyingherselfonadesk...)

Are mf youalright? - Youshouldrest; we'llfinish - later -

Leaningforwardq=72

See mf her,deardaugh-ter

See mf her,deardaughter. -

-ther, tell mewhatdoyouwantfromme?

Knowthyself - withhones - -ty andclari - -ty, and lovehercomplete - ly. -

Knowthyself - withhones - -ty, clar i - -ty, andlovehercom-plete ly. -

Knowthyself - withhones - -ty and withclar i -

Seeher,knowher,hon-orher

lovehercomplete - ly. - Seeher, know her, hon or - her withdi-vine

plete ly - Seeher, know her, hon or - her withdi-vine com plete - ly - Seeher, know her, hon or

-vine

ACTI,SCENE6

(HILDEGARD,RICHARDIS,CLEMENTIAANDGERTAarestandinginthecemetery CLEMENTIAhasawaxtabletandstylusinhand.)

-mentia,

you'vemappedallthenames andlo-

(CLEMENTIAnodsandshows HILDEGARDthewaxtabletHILDEGARD nods,gesturestothegraves.)

(Thewomenbeginremovingthecrosses fromthegravesandlayingthemoffto theside,inapile)

-erI told you, theCrusad - er - re pen

sweredand said:

(holdingupafinger,interrupting, snarlingwithwearinessandsarcasm)

suffer - not awom-antoteach, nor to usurp - author

(CUNOpausesandthenslowly walksaroundHILDEGARD,encirclingher)

(HILDEGARD,RICHARDIS,CLEMENTIA,andGERTAaregathered inadarkChapelwithcandlestosingquietly,covertlyHILDEGARDholdsupafinger toherlipstoremindthewomentosingquietly,thenleadstheminachant.)

(CLEMENTIAandGERTAdisperse,while RICHARDISsitsdown,cowering,hereyes onthefloorMECHTILDstaresatherfora moment;RICHARDISbrieflylooksup, catcheshiseyes,andlooksbackdown.)

MECHTILDlooksatHILDEGARD, whoisgatheringthemusicmanuscriptwithout acknowledginghim,andheexits.

some-times, thegreat est - act ofcompas - sion

isan ob-

(lettingherstudentlead,withencouragment)

ACTI,SCENE8

(VOLMARandRICHARDISareintheScriptorium, puttingRICHARDIS’Spaintingsoneaselsandother displaysaroundtheroom)

(HILDEGARDentersandwalks aroundforamoment,lookingcarefullyateach illustration,marveling)

(HILDEGARDapproachesRICHARDIS, takesherhandsinherown,andkissesthemonce,emphatically, asagestureofappreciation)

-er... Oh God, youcreat - -ed me, didyou not? On -

youcreat - -edme, didyounot?"

youre-

those theDev-il has ravaged - sincebirth, rattled - and

shookandseized over - andover - a gain... - how pp mf arethey totrust, how

ink,nightandshadow,p the f colors - of ab-sence, ofempty, - of

ceive

(HILDEGARDapproaches RICHARDISandgently placesahandtothesideof herface )

(VOLMARapproachesHILDEGARDwithalookofconcern.)

(VOLMARguideshertositdown)

My mp dearSister, - wemust

see you. You are in love. With Ri-chardis.

shatters.Shecoversherface,intears, andcrouchesdownonherfeet)

died inthe armsofBernard,

andwas buried

in hishab

gape. - Love

knowsnovessels, - only - souls,

-lysouls.

Mechtild

(Thesylphsperformasortofdansemacabrearoundthe FACELESSWOMAN,mockingandpushingheraroundbetweenthem.)

(TheFACELESSWOMANfallstoherknees,faceinherhands. TheSYLPHSnowcomeforHILDEGARD,graduallyencirclingher)

(HILDEGARD slipspastthesylphs, runstokneelbyherbed.)

ACTII,SCENE1

(HILDEGARDandRICHARDISaloneintheScriptorium They’restandingclosetogether,conferringinfrontofaneasel andsharingagentlelaugh,withHILDEGARD’shandon RICHARDIS’sback)

(CUNOappears,loudlyclearshisthroat. HILDEGARDquicklystepsaway fromRICHARDIS)

(HILDEGARDnodsandgoestocollect themanuscriptsforCUNO)

(CUNOlooksdispleased, clearshisthroatagain, andexits)

butmychild... Why

shouldn't - she letyou stay?

willpro-

(HILDEGARDleadsRICHARDISintoan adjacentroom,inwhichtherearetwoshallow gravesmadeofdirtandtwigs )

HILDEGARDleadsRICHARDISoverto thetwograves,andkneelsbyone)

iswheretheyenclosedme, asachild

ourmor-tallivesnowpast. WewereChrist's e-ter nal - brides.

Twiceaday, forthirty - -sixyears,welayinthesegraves to remem - -ber:

(HILDEGARDliesfacedowninthegrave, withherheadturnedtooneside)

(RICHARDISthenlowersherselfdownontotheothergravenextto HILDEGARD.Afterawordlessmoment,RICHARDISreachesout forHILDEGARD’shand.HILDEGARDreciprocates.THEYlaythere inthegravesforafewminutes,completelystill,fingersentwined)

(quicklyjumpsup,dustsoff, approachestheMARGRAVINE.)

(ABBOTCUNOandtheMARGRAVINEappear,standinginthedoorway, unbeknowsttoHILDEGARDandRICHARDIS.THEYpauseforamoment, realizingthey'reintrudingonaprivatemoment

butnotlookingatHILDEGARD...)

Clem

taughther; itprotects - her.

- andwhatwayisthat,praytell? pp

Throughdrawingand

(THEMARGRAVINEgivesHILDEGARDasmileofforced politeness,hooksherarmthroughRICHARDIS’s,andescorts herawayfromHILDEGARDslightly,forgreaterprivacy.)

Ri fsnarling,chastising -chardis, - howdareyou! Don'tyouknowhow q=76 Lessq=66

diffi - -cultit'sbeenforyourpoormother? - Tofindyouapathbe-fitting - ofaMargrave's - daughter?

M-S./ Clem

cerned. People - aretalking, - Richar - -dis. Andher so-called vi-sions? Either -

Please,Mother,

This

isyourcurse; it makes youthe Dev-il'splay-thing. We

mustfindthecure I pro mise - you,deardaughter:

M-S./ Clem

mother.p You, f hermother? - Youknownothing -

Shewillre-lapse in their

M-S/ Clem

(THEMARGRAVINEpullsRICHARDIStowalkwith heroffstageRICHARDISlooksbackbrieflyatHILDEGARD, who,instunnedfrustration,watchesthemleave)

(5/8paerncontinues)

(HILDEGARD,inthemiddleofthenight,liesinbedasleep,dreaming.Shehas adreamofwomeninwhitetunicswithlong,flowinghair,bejeweledandflowered THEYdancejoyouslyunderaGoldenTent,inaplayfulringaroundtheFACELESS WOMAN,whositsonagrassyhillinfrontofanAbbeyunderconstruction.)

(Thedreamistheninterrupted byaknockatthedoor…HILDEGARD jumpsoutofbed,opensdoor.)

(RICHARDISenters.Inanumbstateofdisbelief, SHEwalkspastHILDEGARDandsinksintoachair)

Mydaughter, - areyouunwell? - Threemonths? Sinceyouarrived - here?

Three mp months.

Perhaps

Areyoueating -

With

you,Hilde - gard, Ibelieved - I mightbegood

Inthewarmthofyoursun, IfeltapeaceI'd never - known.

now, Ifear mydarkened - pall corruptsthis,too.

andslowlyleansintokissher,briefly)

(RICHARDISthenquicklycatchesherself andpullsaway,leavingHILDEGARDdazed (RICHARDISstaggersagainstthewall, staringatthefloor.)

(RICHARDISrunstoarefuse containerandbrieflyvomits, sinkingtothefloor. HILDEGARDrushestoher side,crouchesnexttoher)

(rubsherbackasRICHARDISwipesmouth, settlesherself)

(reassuringly,strokeshair)

(HILDEGARDguidesRICHARDIS's facetolookathers)

(ThelightonRICHARDISdimswhilea lightrevealstheFACELESSWOMAN acrossthestage,watching...)

(TheFACELESSWOMANtakesstepstowards HILDEGARD,stoppingjustafewfeetawayfromher HILDEGARDwatchesherwithapprehension)

(RICHARDIS,realizingshe’sgoingtovomitagain,leans overtoretchintoabucketandsinksbackagainstthewall, herhandsmovingdowntohernauseated,swollenbelly.)

AHairMoreq=58

Richar - -dis, youwillbewithme.

thinkofyouthere. But,myMother, - youheardher...

WhenIgainPapal

(RICHARDISwalksovertothewindowsill, andlooksattheTansy,whichisgrowing nexttootherherbs...)

(RICHARDISliftsthepotofTansy offtheshelfandholdsit )

risk and trust in the Light.

temptoftheWorld, withhergreenest - branch.

(HILDEGARDwrapsherarmsaroundRICHARDIS RICHARDIS,seeingnowayout,isquiet.Sherests herheadonHILDEGARD’sshoulder,relishing themomentarycomfort)

****scenetextwipedfromFSC-SKStodecideifthisstayshere**** (HILDEGARDmeetswithCUNOHEhashisbackturnedtoher, arrangingthingsbehindhisdesk)

not deny - yourdaugh-terstheirbirth-rights.

deny - them nothing; - theycanen-joythem

Mind f thegreen ness

here.

yourheart, the

foun

-tainof your

The

Archbish - -op! Well, thisshouldbe

inter - -esting - He reject - -edyourvisions - weeksa-go, now! Oh yes, Sis-ter

"Should

we expel - her?"he said. "No,"I said, "no." "Pleaseyourho-li-ness,

ancients - haven't - glimpsed. I fff beg ofyou, Ibegofyou, f letthe

-lyFather - judgehercase.

(Withoutlookingather, CUNOholdsuphisfinger toher,asiftosilenceher…)

Clerics - fromhere toCologne - be-lieve yourvisions - fake. I

Leaningbackq=63

Abitfaster

(HILDEGARD,rattled,steadiesherselfagaintadeskorchair)

Abitfaster e=144(q=72,q=48)

(HILDEGARDkneelsand claspshandtogetherinprayer.)

(HILDEGARDopensandreadsit THEANGELSenter...)

Abitfasterq=66

improvisatoryfeel;rhythmsarearoughsuggestion

outofherreverie,thinksofRICHARDIS

my dear Ri-char-dis, this journney - withyou has

(HILDEGARDleansforwardandplacesabriefkiss onRICHARDIS’sforehead.RICHARDISis unresponsive.HILDEGARD,suddenlynoticingthe potentsmellofTansy,leansinagaintosniff closetoherface,andrecoils)

(HILDEGARDtriestowakeRICHARDIS,tonoeffect SHEquicklyglancesaroundtheroom,underthebed, opensthebedsidedrawer,findingnothing....)

(SHEthenrummagesthroughthepocketsofRICHARDIS’stunic–outofwhichSHE pullsabouquetofcrumpledTansyflowers...HILDEGARDlooksattheTansyfora splitsecond,andthenletsitfalltothefloor,eruptinginpanic)

(rushestoRICHARDIS,francticallytriestorouseher, pattingherontheface,etc.)

(CLEMENTIArunstogetthewine; HILDEGARDcontinuestryingto rouseRICHARDIS)

(HILDEGARDquicklygetsbehind RICHARDISonthebed,pullingherup intoaseatedpositionCLEMENTIAenters withthejugofwine)

(CLEMENTIAholdsRICHARDIS’sheadupright, whileHILDEGARDbringsthejugofwinetoherlips. ButRICHARDISisunresponsive,anditjustrollsdown herchinontohertunic)

Richar - -dis,say no, sayno! You will not

(HILDEGARDandCLEMENTIAarrangeRICHARDIS ontoherstomach,hangingheadfirstoffthesideofthe bedHILDEGARDbeginscompressions onherback,tryingtomakehervomit.)

(HILDEGARDfuriously continuescompressions)

(HILDEGARDletsouta skyward,guttural scream,andthelights goblack.)

(CLEMENTIAtakesRICHARDIS’s pulseonherneckRealizingthereis none,SHEcrossesherself...)

myheadiscovered - withdew, andmylocks

measasealupon - your

death.

Pass

-ion asfierceas thegrave, its

sparksareflashes - offire,

(HILDEGARDlightsacandle,aslightonthestagereveals twoshallowgravesoftwigs/branches/dirtonthefloor.)

(breatheasneeded,re-enteron"eh")