Issuu

1 Introit for the Dedication of a Church: Terribilis est locus iste

Ordo virtutum

Anonymous

2:16

Hildegard von Bingen (1098-1179)

2 Prologue (Mvt. 1-3)

5:18

3 Part I: The Soul Invokes the Virtues (Mvt. 4-16)

8:28

4 Part II: Enter the Devil (Mvt. 17-57)

27:03

5 Part III: The Soul Returns (Mvt. 58-71)

11:30

6 Part IV: The Devil is Bound (Mvt. 72-85)

8:45

7 Epilogue (Mvt. 86-87)

4:33

Total running time:

This recording was made possible by a generous gift from Frank & Carolyn Pichardo. Original performances of this production were made possible by the generosity of Marty Davis & Alix Ritchie.

67:53

Conductor: Patrick Dupre Quigley Artistic Advisor: Honey Meconi

Chorus Master: Sara Guttenberg Artistic Production: Alexis Aimé

Anima, the Soul: Luthien Brackett Humility, Queen of the Virtues: Clara Osowski The Devil: James K. Bass Nola Richardson, Knowledge of God, Patience, Embodied Souls; Margaret Lias, Charity, Hope, Patriarchs and Prophets, Introit precentor; Amanda Crider, Embodied Souls, Fear of God, World Rejection; Kate Maroney, Obedience, Embodied Souls; Virginia Warnken, Faith, Discipline, Patriarchs and Prophets soloist; Sara Guttenberg, Chastity, Shamefastness, Embodied Souls, percussion; Arwyn Myers, Innocence, Embodied Souls; Molly Quinn, Heavenly Love, Discretion, Embodied Souls; Sarah Moyer, Mercy, Embodied Souls; Rebecca Myers, Victory, Embodied Souls; James K. Bass, Patriarchs and Prophets precentor, Epilogue; Luthien Brackett, Patriarchs and Prophets; Clara Osowski, Embodied Souls; Patrick Dupre Quigley, Epilogue Recorded November 13-14, 2019, Sauder Concert Hall, Goshen College, Goshen, Indiana. Producer: Peter Rutenberg Recording Engineer: Steve Kaplan Assistant Engineer: Eric Xu Romani Editing & Mixing: Steve Kaplan Mastering Engineer: John Polito, Audio Mechanics Associate Producer: James K. Bass Project Manager: Eric J. Rubio Design: Someone & Somebody CD Design Production: Laura Shand Executive Director: Rhett M. Del Campo 3

ILDEGARD VON INGEN:

rdo irtutum St. Hildegard of Bingen’s Ordo virtutum (variously translated as “The Play of the Virtues,” “The Rite of the Virtues,” and so on) is the only music drama from the Middle Ages for which we have a named composer. Although influenced by prophet plays (Ordo prophetarum) and the Psychomachia of fifth-century Spanish poet Prudentius, Ordo virtutum is unique in its structure, its poetic language, and of course its splendid music. e know that this work, Hildegard’s most extensive musical composition, was completed by 1151. Not long before that date, Hildegard and her community of twenty or so nuns moved from their previous home of Disibodenberg, which they shared with a male monastic community, to a new dwelling on the Rupertsberg, adjacent to the town of Bingen. Once settled at Rupertsberg, in 1151 Hildegard completed her first book, Scivias, which chronicled an extensive set of her visions. The final vision includes a textonly version of Ordo virtutum in an abridged format clearly derived from the longer original—hence our awareness that the full Ordo was completed by 1151 or earlier.

hat Ordo virtutum was actually performed as a piece of theater seems certain. The text contains suggestions of movement (“come to me”), performance directions (“shouting”), indications that the Devil is to be bound, and instructions that characters should be happy, burdened, lamenting, etc. As further evidence the Ordo virtutum was intended as an actual dramatic work, discussions of the Virtues in Scivias include detailed descriptions of attire likely reflecting costumes used in performance of the drama. And a full theatrical performance is completely in keeping with the special atmosphere Hildegard cultivated at the Rupertsberg, where she created a special language and had the nuns dress up in long white 4

veils, golden crowns, and jewelry on several feast days, with their hair unbound. ust why Hildegard composed Ordo virtutum is unknown. Its specialness as a composition suggests a special occasion as impetus, although the piece could serve more than one purpose and was likely performed more than once. Possibilities for premieres include the reconsecration of the church at Rupertsberg (May 1, 1151), as well as the ceremony connected with the consecration of women to holy orders. As a reference to the first possibility, this recording opens with a performance of Terribilis est, the Introit of the Mass for the Dedication of a Church, with its own reference to the Virtues. he performers needed for Ordo virtutum fit very well with those at Hildegard’s disposal. The central characters are seventeen personified virtues: Knowledge of God, Humility, Charity, Fear of God, Obedience, Faith, Hope, Chastity, Innocence, World Rejection, Heavenly Love, Shamefastness (Modesty), Mercy, Victory, Discretion, Patience, and one unnamed Virtue usually dubbed “Discipline” by modern scholars. To this are added Anima (the Soul), several “embodied souls,” Patriarchs and Prophets, and the Devil. Hildegard had enough nuns in her community to handle the parts of Anima, the other souls, and the Virtues; Hildegard herself probably

sang Humility, the Queen of the Virtues. The short part of Patriarchs and Prophets could be taken by the visiting dignitaries necessary for major liturgical ceremonies. And the very special part of the Devil was surely performed by the sole man in the Rupertsberg community, a priest and confessor named Volmar who served as Hildegard’s friend and amanuensis for most of her life. The Devil’s part was deeply symbolic, for he is the villain of the work. He is the only character who is not permitted to sing, but can only speak; all other parts are sung throughout. Late in life, in a famous letter to the Prelates of Mainz, Hildegard confirmed what she had demonstrated long before in Ordo virtutum: that music is antithetical to the Devil. rdo virtutum appears in its manuscript sources without any designation of scenes, although modern performers and editors usually divide the work into several sections. After the short opening exchange between the Patriarchs and Prophets (representing the Old Testament) and the Virtues (representing the New Testament), the plot is underway with the lament of embodied souls followed by Anima’s happy invocation of the Virtues. But her contentment soon turns to a desire to enjoy the world, and the Devil whisks her off to do precisely that. While she is away, the individual Virtues introduce themselves, reject the taunting of the Devil, and lament the loss of Anima. 5

hen Anima returns, saddened and penitent, she fears that the Virtues will no longer want her, but they receive her with joy. Though the Devil tries to reclaim her, she spurns him and calls the Virtues to her assistance. The Devil is then captured, bound, and defeated. Ordo virtutum closes with prayer, praise, invocation of the natural world, and reaching out to the Almighty Father. One phrase from this concluding section, “Almighty Father, from you flowed a fountain in fiery love,” calls to mind the portrait of Hildegard that opens her illuminated Scivias manuscript, where flames of divine inspiration wash over Hildegard herself. ith this recording, Seraphic Fire presents the world premiere of the complete version of Ordo virtutum on disc. The opening line of the play, “Qui sunt hi qui ut nubes?” has only recently been recognized by scholars as not written by Hildegard (unlike the rest of the drama). Rather, it is the beginning of an anonymous Responsory used for several liturgical feasts, including All Saints, an important one in Hildegard’s community and the day that Hildegard herself made her formal pact with the church. The richly evocative text of this chant fits beautifully with Hildegard’s own literary style, and the “eyes” of the chant text are echoed in the recurring “eye” of the Patriarchs and Prophets’ second speech. The use of this chant by Hildegard

to open Ordo virtutum serves a practical purpose as well: any visiting guests who would have taken over the roles of Patriarchs and Prophets would already know this chant, thus shortening rehearsal time! ike Hildegard, then, Seraphic Fire opens its performance of the play with the full chant that she borrowed, launching listeners on a powerful journey of faith, temptation, and redemption set to unforgettable music. © 2021 Honey Meconi. Used with permission. 6

OTES ON ERFORMANCE ildegard of Bingen’s Ordo virtutum is, at its musical core, a celebration of women and their voices. Written for her own community of nuns, Hildegard created the music of the Ordo and its characters for women she knew, led, and sang with daily. The members of the Ordo’s original cast were not professional musicians, and the score reflects an entire range of musical writing for the female voice. Some parts are high, others low; some are extended in length, others fleetingly short. Each, though, was created for a specific member of Hildegard’s convent, and is an historical testament to both that person and that community. ight hundred and seventy years have elapsed since the likely first performance of Hildegard von Bingen’s Ordo virtutum and the release of this recording. Ad interim: Wars, schisms, plagues, reformations, and the dissolution of Hildegard’s convent for more than 100 years have broken the line of performance tradition between the nuns at Rupertsberg and contemporary performers. In spite of this break with the past, many important musical and attributional aspects of the Ordo have survived intact.

egarding Ordo virtutum, scholarship is certain of the author of both the music and the text: Hildegard von Bingen, saint and polymath. The musical community is similarly in agreement as to the pitches of the music and the order in which they occur. Finally, there is no doubt that the music of the Ordo was written for and contemporaneously performed by women. or the occasion of this recording, Seraphic Fire performed the Ordo virtutum from Audrey Ekdahl Davidson’s contemporary realization with minor editorial changes. Medieval German pronunciation of Latin was guided by Harold Copeman and Vera U. G. Scherr’s indispensable article in Singing Early Music and transcribed into the International Phonetic Alphabet by Sara Moyer. Qui sunt hi qui ut nubes volant?, the opening plainchant of Hildegard's drama, was transcribed from the version of Klosterneuberg, Augustiner-Chorherrenstift, Cod. 1012 published in Luca Ricossa's neumed edition of Ordo virtutum. Terribilis est locus iste, the anonymous introit for the Dedication of a Church that sets the stage for the Ordo, is performed as published in the Liber Usualis. 7

here are two equally passionate schools of thought on the rhythm of Hildegard’s music. Seraphic Fire has adopted a quasi-equalist approach, treating pitches as mostly equal in length. Rhythmic exceptions are ensemble choices and were meant to highlight musical structure and/or dramatic content. Similarly, use of drones, crotales, organum, and river stones were creative choices for this particular performance and are not indicated in the manuscript.

inally, in every aspect of this performance and recording, Seraphic Fire was shepherded by the knowledge, wisdom, generosity, and kindness of Honey Meconi, Professor of Musicology at the University of Rochester and the Eastman School of Music, and author of the 2018 biography Hildegard of Bingen. Dr. Meconi has been Seraphic Fire’s spiritual guide in this great adventure, and for that we offer our sincere and inextinguishable gratitude. Patrick Dupre Quigley, Artistic Director

Seraphic Fire, performing Ordo virtutum

Credit: David Johnson Photography

EXTS &

RANSLATIONS

Translation of Qui sunt hi by Honey Meconi. Introit translated by Patrick Dupre Quigley. All remaining texts translated by Peter Dronke, from Nine Medieval Latin Plays, © 1994 Cambridge University Press. Reproduced by permission. Movement numbers correspond to Audrey Ekdahl Davidson’s modern performing edition of Ordo virtutum. 1

Introit for the Dedication of a Church

Awesome is this place: here is the house of God and the gate of heaven: It shall be called the court of God. How beautiful is your tabernacle, Lord of the Virtues! My soul longs and faints for the court of the Lord. Glory to the Father, and Son, and Holy Spirit. As it was in the beginning, is now, and always, And forever and ever. Amen.

Terribilis est locus iste: hic domus Dei est, et porta caeli: et vocabitur aula Dei. Quam dilecta tabernacula tua, Domine virtutum! Concupiscit, et deficit anima mea in atria Domini. Gloria Patri, et Filio, et Spiritui Sancto. Sicut erat in principio, et nunc, et semper, Et in saecula saeculorum. Amen. 2

Prologue

1. Patriarchs and Prophets: Who are these who fly like clouds and like doves to their windows? Their backs are full of eyes and sparks flash therein like torches. 2. Virtues: You holy ones of old, why do you marvel at us? The Word of God grows bright in the shape of man, and thus we shine with him, building up the limbs of his beautiful body.

1. Patriarche et Prophete: Qui sunt hi qui ut nubes volant et quasi columbe ad fenestras suas? Dorsa eorum plena sunt oculis et scintille ac lampades in medio discurrentes. 2. Virtutes: O antiqui sancti, quid admiramini in nobis? Verbum dei clarescit in forma hominis, et ideo fulgemus cum illo, edificantes membra sui pulcri corporis. 9

3. Patriarchs and Prophets: We are the roots, and you, the boughs, fruits of the living eye, and in that eye we were the shadow.

3. Patriarche et Prophete: Nos sumus radices et vos rami, fructus viventis oculi, et nos umbra in illo fuimus. 3

Part I - The Soul Invokes the Virtues

4. Querela Animarum in carne positarum: O nos peregrine sumus. Quid fecimus, ad peccata deviantes? Filie regis esse debuimus, sed in umbram peccatorum cecidimus. O vivens sol, porta nos in humeris tuis in iustissimam hereditatem quam in Adam perdidimus! O rex regum, in tuo prelio pugnamus. 5. Felix Anima: O dulcis divinitas, et o suavis vita, in qua perferam vestem preclaram, illud accipiens quod perdidi in prima apparitione, ad te suspiro, et omnes Virtutes invoco. 6. Virtutes: O felix Anima, et o dulcis creatura dei, que edificata es in profunda altitudine sapientie dei, multum amas. 7. Felix Anima: O libenter veniam ad vos, ut prebeatis michi osculum cordis. 8. Virtutes: Nos debemus militare tecum, o filia regis. 9. Sed, gravata, Anima conqueritur:

4. The lament of (a chorus of) embodied Souls: Oh we are strangers here! What have we done, straying to realms of sin? We should have been daughters of the King, but we have fallen into the shadow of sins. Oh living Sun, carry us on your shoulders back to that most just heritage we lost in Adam! King of kings, we are fighting in your battle. 5. Anima (happily): Oh sweet divinity, oh gentle life, in which I shall wear a radiant robe, receiving that which I lost in my first manifestation – I sigh for you, and invoke all the Virtues. 6. Virtues: You happy Soul, sweet and divine creation, fashioned in the deep height of the wisdom of God, you show great love. 7. Anima (happily): Oh let me come to you joyfully, that you may give me the kiss of your heart! 8. Virtues: We must fight together with you, royal daughter. 9. Anima, depressed, laments: 10

O gravis labor, et o durum pondus quod habeo in veste huius vite, quia nimis grave michi est contra carnem pugnare. 10. Virtutes ad Animam illam: O Anima, voluntate dei constituta, et o felix instrumentum, quare tam flebilis es contra hoc quod deus contrivit in virginea natura? Tu debes in nobis superare diabolum. 11. Anima illa: Succurrite michi, adiuvando, ut possim stare! 12. Scientia Dei ad Animam illam: Vide quid illud sit quo es induta, filia salvationis, et esto stabilis, et numquam cades. 13. Infelix, Anima: O nescio quid faciam, aut ubi fugiam! O ve michi, non possum perficere hoc quod sum induta. Certe illud volo abicere! 14. Virtutes: O infelix conscientia, O misera Anima, quare abscondis faciem tuam coram creatore tuo? 15. Scientia Dei: Tu nescis, nec vides, nec sapis illum qui te constituit.

Oh grievous toil, oh harsh weight that I bear in the dress of this life: it is too grievous for me to fight against my body. 10. Virtues (to Anima): Anima, you that were given your place by the will of God, you instrument of bliss, why are you so tearful in the face of the evil God crushed in a maidenly being? You must overcome the devil in our midst. 11. Anima: Support me, help me to stay firm! 12. Knowledge of God (to Anima): Look at the dress you are wearing, daughter of salvation: be steadfast, and you’ll never fall. 13. Anima (unhappily): I don’t know what to do or where to flee. Woe is me, I cannot complete this dress I have put on. Indeed I want to cast it off! 14. Virtues: Unhappy state of mind, oh poor Anima, why do you hide your face in the presence of your Creator? 15. Knowledge of God: You do not know or see or taste the One who has set you here. 11

16. Anima: God created the world: l’m doing him no injury, I only want to enjoy it!

16. Anima illa: Deus creavit mundum: non facio illi iniuriam, sed volo uti illo! 4

Part II - Enter the Devil

17. Strepitus Diaboli ad Animam illam: Fatue, fatue quid prodest tibi laborare? Respice mundum, et amplectetur te magno honore. 18. Virtutes: O plangens vox est hec maximi doloris! Ach, ach, quedam mirabilis victoria in mirabili desiderio dei surrexit, in qua delectatio carnis se latenter abscondit, heu, heu, ubi voluntas crimina nescivit et ubi desiderium hominis lasciviam fugit. Luge, luge ergo in his, Innocentia, que in pudore bono integritatem non amisisti, et que avariciam gutturis antiqui serpentis ibi non devorasti. 19. Diabolus: Que est hec potestas, quod nullus sit preter deum? Ego autem dico, qui voluerit me et voluntatem meam sequi, dabo illi omnia. Tu vero, tuis sequacibus nichil habes quod dare possis, quia etiam vos omnes nescitis quid sitis. 20. Humilitas: Ego cum meis sodalibus bene scio quod tu es ille antiquus dracho

17. Devil (shouting to Anlma): What use to you is toiling foolishly, foolishly? Look to the world: it will embrace you with great honor. 18. Virtues: ls this not a plangent voice, of utmost sorrow? Ah, a certain wondrous victory already rose in that Soul, in her wondrous longing for God, in which a sensual delight was secretly hidden, alas, where previously the will had known no guilt, and the desire fled man’s wantonness. Mourn for this, mourn, Innocence, you who lost no perfection in your fair modesty, who did not devour greedily, with the gullet of the serpent of old. 19. Devil: What is this power, as if there were no one but God? I say, whoever wants to follow me and do my will, I’ll give him everything. As for you, Humility, you have nothing that you can give your followers: none of you even know what you are! 20. Humility: My comrades and I know very well that you are the dragon of old 12

qui super summum volare voluisti – sed ipse deus in abyssum proiecit te. 21. Virtutes: Nos autem omnes in excelsis habitamus. 22. Humilitas: Ego, Humilitas, regina Virtutum, dico: venite ad me, Virtutes, et enutriam vos ad requirendam perditam dragmam et ad coronandum in perseverantia felicem. 23. Virtutes: O gloriosa regina, et o suavissima mediatrix, libenter venimus. 24. Humilitas: Ideo, dilectissime filie, teneo vos in regali talamo. 25. Karitas: Ego Karitas, flos amabilis – venite ad me, Virtutes, et perducam vos in candidam lucem floris virge. 26. Virtutes: O dilectissime flos, ardenti desiderio currimus ad te. 27. Timor Dei: Ego, Timor Dei, vos felicissimas filias preparo ut inspiciatis in deum vivum et non pereatis. 28. Virtutes: O Timor, valde utilis es nobis: habemus enim perfectum studium numquam a te separari.

who craved to fly higher than the highest one: but God himself hurled you in the abyss. 21. Virtues: As for us, we dwell in the heights. 22. Humility: I, Humility, queen of the Virtues, say: come to me, you Virtues, and I’ll give you the skill to seek and find the drachma that is lost and to crown her who perseveres blissfully. 23. Virtues: Oh glorious queen, gentlest mediatrix, gladly we come. 24. Humility: Because of this, beloved daughters, I’ll keep your place in the royal wedding-chamber. 25. Charity: I am Charity, the flower of love – come to me, Virtues, and I’ll lead you into the radiant light of the flower of the rod. 26. Virtues: Dearest flower, with ardent longing we run to you. 27. Fear of God: I, Fear of God, can prepare you, blissful daughters, to gaze upon the living God and not die of it. 28. Virtues: Fear, you can help us greatly: we are filled with the longing never to part from you. 13

29. Diabolus: Euge! euge! quis est tantus timor? et quis est tantus amor? Ubi est pugnator, et ubi est remunerator? Vos nescitis quid colitis. 30. Virtutes: Tu autem exterritus es per summum iudicem, quia, inflatus superbia, mersus es in gehennam. 31. Obedientia: Ego lucida Obedientia – venite ad me, pulcherrime filie, et reducam vos ad patriam et ad osculum regis. 32. Virtutes: O dulcissima vocatrix, nos decet in magno studio pervenire ad te. 33. Fides: Ego Fides, speculum vite: venerabiles filie, venite ad me et ostendo vobis fontem salientem. 34. Virtutes: O serena, speculata, habemus fiduciam pervenire ad verum fontem per te. 35. Spes: Ego sum dulcis conspectrix viventis oculi, quam fallax torpor non decipit unde vos, o tenebre, non potestis me obnubilare. 36. Virtutes: O vivens vita, et o suavis consolatrix,

29. Devil: Bravo! Bravo! What is this great fear, and this great love? Where is the champion? Where the prizegiver? You don’t even know what you are worshipping! 30. Virtues: But you, you were terrified at the supreme Judge, for, swollen with pride, you were plunged into Gehenna. 31. Obedience: I am Obedience, the shining one – come to me, lovely daughters, and I’ll lead you to your homeland and to the kiss of the King. 32. Virtues: Sweetest summoner, it is right for us to come, most eagerly, to you. 33. Faith: I am Faith, the mirror of life: precious daughters, come to me and I shall show you the leaping fountain. 34. Virtues: Serene one, mirror-like, we trust in you: we shall arrive at that fountain through you. 35. Hope: I am the sweet beholder of the living eye, I whom no dissembling torpor can deceive. Darkness, you cannot cloud my gaze! 36. Virtues: Living life, gentle, consoling one, 14

tu mortifera mortis vincis et vidente oculo clausuram celi aperis. 37. Castitas: O Virginitas, in regali thalamo stas. O quam dulciter ardes in amplexibus regis, cum te sol perfulget ita quod nobilis flos tuus numquam cadet. O virgo nobilis, te numquam inveniet umbra in cadente flore! 38. Virtutes: Flos campi cadit vento, pluvia spargit eum. O Virginitas, tu permanes in symphoniis supernorum civium: unde es suavis flos qui numquam aresces. 39. Innocentia: Fugite, oves, spurcicias Diaboli! 40. Virtutes: Has te succurrente fugiemus. 41. Contemptus Mundi: Ego, Contemptus Mundi, sum candor vite. O misera terre peregrinatio in multis laboribus – te dimitto. O Virtutes, venite ad me et ascendamus ad fontem vite! 42. Virtutes: O gloriosa domina, tu semper habes certamina Christi, o magna virtus, que mundum conculcas, unde etiam victoriose in celo habitas.

you overcome the deadly shafts of death and with your seeing eye lay heaven’s gate open. 37. Chastity: Maidenhood, you remain within the royal chamber. How sweetly you burn in the King’s embraces, when the Sun blazes through you, never letting your noble flower fall. Gentle maiden, you will never know the shadow over the falling flower! 38. Virtues: The flower in the meadow falls in the wind, the rain splashes it, but you, Maidenhood, remain in the symphonies of heavenly habitants: you are the tender flower that will never grow dry. 39. Innocence: My flock, flee from the Devil’s taints! 40. Virtues: We shall flee them, if you give us aid. 41. World-rejection: I, World-rejection, am the blaze of life. Oh wretched, exiled state on earth, with all your toils – I let you go. Come to me, you Virtues, and we’ll climb up to the fountain of life! 42. Virtues: Glorious lady, you that always fight Christ’s battles, great power that tread the world under your feet, you thereby dwell in heaven, victoriously. 15

43. Amor Celestis: Ego aurea porta in celo fixa sum: qui per me transit numquam amaram petulantiam in mente sua gustabit. 44. Virtutes: O filia regis, tu semper es in amplexibus quos mundus fugit, O quam suavis est tua dilectio in summo deo! 45. [Disciplina] : Ego sum amatrix simplicium morum qui turpia opera nesciunt; sed semper in regum regem aspicio et amplector eum in honore altissimo. 46. Virtutes: O tu angelica socia, tu es valde ornata in regalibus nuptiis. 47. Verecundia: Ego obtenebro et fugo atque conculco omnes spurcicias Diaboli. 48. Virtutes: Tu es in edificatione celestis Jerusalem, florens in candidis liliis. 49. Misericordia: O quam amara est illa duricia que non cedit in mentibus, misericorditer dolori succurrens! Ego autem omnibus dolentibus manum porrigere volo. 50. Virtutes: O laudabilis mater peregrinorum, 16

43. Heavenly Love: I am the golden gate that’s fixed in heaven: whoever passes through me will never taste bitter rebelliousness in her mind. 44. Virtues: Royal daughter, you are held fast in the embraces the world shuns: how tender is your love in the highest God! 45. Discipline: I am one who loves innocent ways that know nothing ignoble; I always gaze upon the King of kings and, as my highest honor, I embrace him. 46. Virtues: Angelic comrade, how comely you are in the royal nuptials! 47. Modesty: I cover over, drive away or tread down all the filths of the Devil. 48. Virtues: Yours is a part in the building of heavenly Jerusalem, flowering among shining lilies. 49. Mercy: How bitter in human minds is the harshness that does not soften and mercifully ease pain! I want to reach out my hand to all who suffer. 50. Virtues: Matchless mother of exiles,

tu semper erigis illos, atque ungis pauperes et debiles. 51. Victoria: Ego Victoria velox et fortis pugnatrix sum – in lapide pugno, serpentem antiquum conculco. 52. Virtutes: O dulcissima bellatrix, in torrente fonte qui absorbuit lupum rapacem -– O gloriosa coronata, nos libenter militamus tecum contra illusorem hunc. 53. Discretio: Ego Discretio sum lux et dispensatrix omnium creaturarum, indifferentia dei, quam Adam a se fugavit per lasciviam morum. 54. Virtutes: O pulcherrima mater, quam dulcis et quam suavis es, quia nemo confunditur in te. 55. Pacientia: Ego sum columpna que molliri non potest, quia fundamentum meum in deo est. 56. Virtutes: O firma que stas in caverna petre, et o gloriosa bellatrix que suffers omnia! 57. [Humilitas]: O filie Israhel, sub arbore suscitavit vos deus, unde in hoc tempore recordamini plantationis sue. Gaudete ergo, filie Syon!

you are always raising them up and anointing the poor and the weak. 51. Victory: I am Victory, the swift, brave champion – I fight with a stone, I tread the age-old serpent down. 52. Virtues: Oh gentlest warrior, in the scorching fountain that swallowed up the voracious wolf – glorious, crowned one, how gladly we’ll fight against that trickster, at your side! 53. Discretion: I am Discretion, light and moderator of all creatures, the impartiality of God, that Adam drove away by acting wantonly. 54. Virtues: Fairest mother, how sweet you are, how gentle – in you no one can be confounded. 55. Patience: I am the pillar that can never be made to yield, as my foundation is in God. 56. Virtues: You that stay firm in the rocky cavern, you are the glorious warrior who endures all. 57. Humility: Daughters of Israel, God raised you from beneath the tree, so now remember how it was planted. Therefore rejoice, daughters of Jerusalem. 17

Part III - The Soul Returns

58. Virtutes: Heu, heu, nos Virtutes plangamus et lugeamus, quia ovis domini fugit vitam! 59. Querela Anime penitentis et Virtutes invocantis: O vos regales Virtutes, quam speciose et quam fulgentes estis in summo sole, et quam dulcis est vestra mansio – et ideo, o ve michi, quia a vobis fugi! 60. Virtutes: O fugitive, veni, veni ad nos, et deus suscipiet te. 61. Anima illa: Ach! ach! fervens dulcedo absorbuit me in peccatis, et ideo non ausa sum intrare. 62. Virtutes: Noli timere nec fugere, quia pastor bonus querit in te perditam ovem suam. 63. Anima illa: Nunc est michi necesse ut suscipiatis me, quoniam in vulneribus feteo quibus antiqus serpens me contaminavit. 64. Virtutes: Curre ad nos, et sequere vestigia illa in quibus numquam cades in societate nostra, et deus curabit te.

58. Virtues: Alas, alas, let us lament and mourn, because our master’s sheep has fled from life! 59. Anima (laments, penitent and calling upon the Virtues): You royal Virtues, how graceful, how flashing-bright you look in the highest Sun, and how delectable is your home, and so, what woe is mine that I fled from you! 60. Virtues: You who escaped, come, come to us, and God will take you back. 61. Anima: Ah, but a burning sweetness swallowed me up in sins, so I did not dare come in. 62. Virtues: Don’t be afraid or run away: the good Shepherd is searching for his lost sheep – it is you. 63. Anima: Now I need your help to gather me up – I stink of the wounds that the age-old serpent has made gangrenous 64. Virtues: Run back to us, retrace those steps where you’ll never falter, in our company: God will heal you. 18

65. Penitens Anima ad Virtutes: Ego peccator qui fugi vitam: plenus ulceribus veniam ad vos, ut prebeatis michi scutum redemptionis. O tu omnis milicia regine, et o vos, candida lilia ipsius, cum rosea purpura, inclinate vos ad me, quia peregrina a vobis exulavi, et adiuvate me, ut in sanguine filii dei possim surgere. 66. Virtutes: O Anima fugitiva, esto robusta, et indue te arma lucis. 67. Anima illa: Et o vera medicina, Humilitas, prebe michi auxilium, quia superbia in multis viciis fregit me, multas cicatrices michi imponens. Nunc fugio ad te, et ideo suscipe me. 68. Humilitas: O omnes Virtutes, suscipite lugentem peccatorem, in suis cicatricibus, propter vulnera Christi, et perducite eum ad me. 69. Virtutes: Volumus te reducere et nolumus te deserere, et omnis celestis milicia gaudet super te – ergo decet nos in symphonia sonare. 70. Humilitas: O misera filia, volo te amplecti, quia magnus medicus dura et amara vulnera propter te passus est.

65. Anima (penitently, to the Virtues): I am the sinner who fled from life: riddled with sores I’ll come to you – you can offer me redemption’s shield. All of you, warriors of Queen Humility, her white lilies and her crimson roses, stoop to me, who exiled myself from you like a stranger, and help me, that in the blood of the Son of God I may arise. 66. Virtues: Fugitive Anima, now be strong: put on the armor of light. 67. Anima: And you, true medicine, Humility, grant me your help, for pride has broken me in many vices, inflicting many scars on me. Now I’m escaping to you – so take me up! 68. Humility: All you Virtues, lift up this mournful sinner, with all her scars, for the sake of Christ’s wounds, and bring her to me. 69. Virtues: We want to bring you back – we shan’t desert you, the whole of heaven’s host will have joy in you: thus it is right for us now to play our symphony. 70. Humility: Oh unhappy daughter, I want to embrace you: the great surgeon has suffered harsh and bitter wounds for your sake. 19

71. Virtues: Living fountain, how great is your sweetness, you did not reject the gaze of these upon you – no, acutely you foresaw how you could avert them from the fall the angels fell, they who thought they possessed a power which no law allows to be like that. Rejoice then, daughter of Jerusalem, for God is giving you back many whom the serpent wanted to sunder from you, who now gleam in a greater brightness than would have been their state before.

71. Virtutes: O vivens fons, quam magna est suavitas tua, qui faciem istorum in te non amisisti, sed acute previdisti quomodo eos de angelico casu abstraheres qui se estimabant illud habere quod non licet sic stare; unde gaude, filia Syon, quia deus tibi multos reddit quos serpens de te abscidere voluit, qui nunc in maiori luce fulgent quam prius illorum causa fuisset. 6

Part IV - The Devil is Bound

72. Diabolus: Que es, aut unde venis? Tu amplexata es me, et ego foras eduxi te. Sed nunc in reversione tua confundis me - ego autem pugna mea deiciam te! 73. Penitens Anima: Ego omnes vias meas malas esse cognovi, et ideo fugi a te. Modo autem, o illusor, pugno contra te. 74. [Anima illa]: Inde tu, o regina Humilitas, tuo medicamine adiuva me! 75. Humilitas ad Victoriam: O Victoria, que istum in celo superasti, curre cum militibus tuis

72. Devil: Who are you? Where are you coming from? You were in my embrace, I led you out. Yet now you are going back, defying me – but I shall fight you and bring you down! 73. Anima (penitently): I recognised that all my ways were wicked, so I fled you. But now, you trickster, I’ll fight you face to face. 74. Anima: Queen Humility, come with your medicine, give me aid! 75. Humility (to Victory): Victory, you who once conquered this creature in the heavens, run now, with all your soldiery, 20

et omnes ligate Diabolum hunc! 76. Victoria ad Virtutes: O fortissimi et gloriosissimi milites, venite, et adiuvate me istum fallacem vincere. 77. Virtutes: O dulcissima bellatrix, in torrente fonte qui absorbuit lupum rapacem – O gloriosa coronata, nos libenter militamus tecum contra illusorem hunc. 78. Humilitas: Ligate ergo istum, o Virtutes preclare! 79. Virtutes: O regina nostra, tibi parebimus, et precepta tua in omnibus adimplebimus. 80. Victoria: Gaudete, o socii, quia antiquus serpens ligatus est! 81. Virtutes: Laus tibi, Christe, rex angelorum! 82. Castitas: In mente altissimi, o Satana, caput tuum conculcavi, et in virginea forma dulce miraculum colui, ubi filius dei venit in mundum; unde deiectus es in omnibus spoliis tuis, et nunc gaudeant omnes qui habitant in celis, quia venter tuus confusus est. 83. Diabolus: Tu nescis quid colis, quia venter

and all of you bind this Fiend! 76. Victory (to the Virtues): Bravest and most glorious warriors, come, help me to vanquish this deceitful one! 77. Virtues: Oh sweetest warrior, in the scorching fountain that swallowed up the voracious wolf – glorious, crowned one, how gladly we’ll fight against that trickster, at your side! 78. Humility: Bind him then, you shining Virtues! 79. Virtues: Queen of us all, we obey – we’ll carry out your orders totally. 80. Victory: Comrades, rejoice: the age-old snake is bound! 81. Virtues: Praise be to you, Christ, King of the angels! 82. Chastity: In the mind of the Highest, Satan, I trod on your head, and in a virgin form I nurtured a sweet miracle when the Son of God came into the world; therefore you are laid low, with all your plunder; and now let all who dwell in heaven rejoice, because your belly has been confounded. 83. Devil: You don’t know what you are nurturing, for your 21

belly is devoid of the beautiful form that woman receives from man; in this you transgress the command that God enjoined in the sweet act of love; so you don’t even know what you are! 84. Chastity: How can what you say affect me? Even your suggestion smirches it with foulness. I did bring forth a man, who gathers up mankind to himself, against you, through his nativity. 85. Virtues: Who are you, God, who held such great counsel in yourself, a counsel that destroyed the draught of hell in publicans and sinners, who now shine in paradisal goodness! Praise to you, King, for this!

tuus vacuus est pulcra forma de viro sumpta - ubi transis preceptum quod deus in suavi copula precepit; unde nescis quid sis! 84. Castitas: Quomodo posset me hoc tangere quod tua suggestio polluit per immundiciam incestus? Unum virum protuli, qui genus humanum ad se congregat, contra te, per nativitatem suam. 85. Virtutes: O deus, quis es tu, qui in temet ipso hoc magnum consilium habuisti, quod destruxit infernalem haustum in publicanis et peccatoribus, qui nunc lucent in supema bonitate! Unde, o rex, laus sit tibi. 7

Epilogue

86. Virtutes: O pater omnipotens, ex te fluit fons in igneo amore: perduc filios tuos in rectum ventum velorum aquarum, ita ut et nos eos hoc modo perducamus in celestem Ierusalem. 87. [Virtutes et Anime]: In principio omnes creature viruerunt, in medio flores floruerunt;

86. Virtues: Almighty Father, from you flowed a fountain in fiery love: guide your children into a fair wind, sailing the waters, so that we too may steer them in this way into the heavenly Jerusalem. 87. Virtues and Souls: In the beginning all creation was verdant, flowers blossomed in the midst of it; 22

postea viriditas descendit. Et istud vir preliator vidit et dixit: Hoc scio, sed aureus numerus nondum est plenus. Tu ergo, paternum speculum aspice: in corpore meo fatigationem sustineo, parvuli etiam mei deficiunt. Nunc memor esto, quod plenitudo que in primo facta est arescere non debuit, et tunc in te habuisti quod oculus tuus numquam cederet usque dum corpus meum videres plenum gemmarum. Nam me fatigat quod omnia membra mea in irrisionem vadunt. Pater, vide, vulnera mea tibi ostendo. Ergo nunc, omnes homines, genua vestra ad patrem vestrum flectite, ut vobis manum suam porrigat.

later, greenness sank away. And the champion saw this and said: “I know it, but the golden number is not yet full. You then, behold me, mirror of your fatherhood: in my body I am suffering exhaustion, even my little ones faint. Now remember that the fullness which was made in the beginning need not have grown dry, and that then you resolved that your eye would never fail until you saw my body full of jewels. For it wearies me that all my limbs are exposed to mockery: Father, behold, I am showing you my wounds.” So now, all you people, bend your knees to the Father, that he may reach you his hand.

eraphic Fire is an ensemble dedicated to the concert performance of the breadth of history’s musical works for the human voice. Lauded by Gramophone for its “mellifluous, crystalline artistry,” Seraphic Fire has gained an international reputation for dynamic, cutting-edge, and historically informed programming that encompasses both secular and sacred literature. The ensemble’s roster is populated by performers, teachers, and scholars who represent the best of the American school of vocal and instrumental training. Established in 2002, Seraphic Fire is led by its founder, Patrick Dupre Quigley. Throughout its two-decade history, the ensemble has commissioned and premiered works by American composers including Alvaro Bermudez, Shawn Crouch, Douglas Cuomo, Sydney Guillaume, James Kallembach, Susan LaBarr, Ileana Perez Velazquez, Jake Runestad, and Christopher Theofanidis. ith Ordo virtutum, Seraphic Fire will have released 17 recordings on its Seraphic Fire Media label. Several of the ensemble’s recordings have topped the classical music charts. Two – Brahms: Ein Deutsches Requiem and A Seraphic Fire Christmas – have received GRAMMY® nominations. eraphic Fire maintains three core education programs. The Seraphic Fire Youth Initiative, the ensemble’s in-school elementary education program, reaches thousands of public school students in South Florida every year. Seraphic Fire’s Ensemble Artist Program at the UCLA Herb Alpert School of Music offers a two-year apprentice-style training program for talented undergraduate and graduate level vocalists. Seraphic Fire’s annual Professional Choral Institute, a program designed to prepare students to work in the professional choral music industry, enjoys a residency at the Aspen Music Festival and School.

Credit: David Johnson Photography

usicologist Honey Meconi’s many publications include Hildegard of Bingen, the first Englishlanguage book on Hildegard as composer. She first performed Hildegard as Music Director of a 1982 Ordo virtutum production, one of the first since the Middle Ages, and was corecipient of the American Musicological Society’s 2006 Noah Greenberg Award “for distinguished contribution to the study and performance of early music.” She is Arthur Satz Professor in the University of Rochester’s Department of Music and Professor of Musicology at the Eastman School of Music. Credit: Richard Baker / University of Rochester.

atrick Dupre Quigley has led Seraphic Fire since founding the ensemble in 2002. Passionate about expanding the standard concert repertoire, Quigley has championed historical and contemporary compositions with modern and period ensembles across the United States including The Cleveland Orchestra, the San Francisco Symphony, and the Philharmonia Baroque Orchestra. Hildegard von Bingen’s Ordo virtutum is Quigley’s sixteenth title on the Seraphic Fire Media label. Quigley has recorded a wide variety of repertoire including canonic works of Johann Sebastian Bach, Claudio Monteverdi, Johannes Brahms and Samuel Barber, melodies of the Iraqi-Jewish cantorial tradition, compositions by American art music composers, vocal works from the United States’ rich and varied folk music traditions, and contemporary Latin pop with international recording artist Shakira. 25

Credit: Dario Acosta

Luthien Brackett

Nola Richardson

Amanda Crider

Sara Guttenberg

Virginia Warnken

Molly Quinn

Clara Osowski

Kate Maroney

Margaret Lias

Arwyn Myers

Rebecca Myers

James K. Bass

Sarah Moyer

Seraphic Fire offers our utmost gratitude to Frank and Carolyn Pichardo, whose support has made this recording possible. © Ⓟ 2021 SERAPHIC FIRE, INC. ALL RIGHTS RESERVED. MADE IN U.S.A. 2153 Coral Way, Suite 401, Miami, FL 33145

Unauthorized duplication is a violation of applicable laws. This recording was made possible by the City of Miami Beach, Cultural Affairs Program, Cultural Arts Council; with the support of the City of Coral Gables; and with the support of Miami-Dade County Department of Cultural Affairs and the Cultural Affairs Council, the Miami-Dade County Mayor and Board of County Commissioners. In addition, support was provided by a grant from the Coral Gables Community Foundation. This project is sponsored in part by the Florida Department of State, Division of Cultural Affairs, the Florida Council of Arts and Culture, and the State of Florida. Funding for Seraphic Fire is provided in part by Broward County Board of Commissioners as recommended by the Broward Cultural Council.

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