Hildegard of Bingen Dr. Michael Delahoyde Washington State University HILDEGARD OF BINGEN Hildegard was born in 1098, the tenth and last child of apparently noble parents in Mainz. They offered her to God as tithe, acording to her biographer/secretary. Candy Crush Cydia Repo Ios here.
Precarious health and a visionary gift were obvious from age three, when she experienced a 'brightness so great that [her] soul trembled.' She was able to tell the color of a calf still in the womb. In 1106 Hildegard became a companion of Jutta von Sponheim, a noblewoman who rejected offers of marriage in favor of the Benedictine cloister where she became anchoress, obliged to remain in her cell until death. The Benedictines taught elementary reading and singing in Latin; the primer was the Psalter. Hildegard continued her education with Volmer of Saint Disibod, a monk not much older than Hildegard -- a man who became her secretary and lifelong friend. In 1136 at Jutta's death, she became the replacement abbess at the double monastery. Download Aashiqui 2 Mashup By Kiran Kamath. Although she had been reluctant to acknowledge such experiences, in 1141 Hildegard had a blinding vision with a divine call to 'tell and write.'
She began composing music in 1140s; Symphonia is the later cycle of collected works. She also wrote about her visions with Volmer as copy editor. Scivias (Scito vias Domini = know the ways of the Lord) is this collection of visions and exegesis, written through 1151. Hildegard's morality play Ordo virtutum (Play of the Virtues), was later set to music and intended for performance by nuns.
It may have been intended to celebrate the opening of Hildegard's convent, and could have been performed before or after a service. There's no borrowed chant here, but new composition with the highest register reserved for the rejoicing when the Devil in the drama is bound. The virtues are personified (chastity, humility, etc.) and vie with the Devil for the soul of a young girl. The Devil speaks or bellows his lines, indicating that he is not capable of music or that there is no music in Hell. The music often displays Hildegard's distinctive upward leap of the fifth, sometimes a brief step to the fifth on the way to a full octave.