Lauds of St. Ursule, Hildegard von BINGEN / Musicians from the Early Music Institute, Thomas Binkley |
medieval.org
Focus 911
febrero de 1991
Musical Arts Center, Indiana University, Indiana
01 - Opening. Deus in adjutorium meum intende [0:50]
02 - Antiphon. Studium divinitatis [0:51]
03 - Psalm 92. Dominus regnavit decorum indutus est [2:24]
04 - Antiphon. Unde quocumque venientes perexerunt [1:02]
05 - Psalm 99. Jubilate Deo, omnis terra [2:21]
06 - Antiphon. De patria etiam earum [1:07]
07 - Psalm 62. Deus, Deus meus [3:10]
08 - Antiphon. Deus enim rorem [0:50]
09 - The Song of the Three Children. Benedicte omnia opera Domini, Domino [4:12]
10 - Antiphon. Aer enim volat [0:47]
11 - Psalm 148. Laudate Dominum de caelis [3:19]
12 - Chapter, Verse, Response. Qui gloriatur in Domino glorietur [0:26]
13 - Hymn. Cum vox sanguinis [4:59]
14 - Versicle with Response. Dirigatur Domine oratio mea [0:22]
15 - Antiphon. Deus enim in prima muliere [0:36]
16 - Benedictus. Benedictus Dominus Deus Israel [2:57]
17 - Collect. Da nobis quaesumus Domine Deus noster [0:58]
18 - Benedicamus Domino [0:33]
19 - Processional Antiphon. Sed diabolus in invidia sua [0:28]
20 - Sequence. O Ecclesia, oculi tui similis saphiro sunt [6:16]
21 - Collect and Closing Verses. Da nobis quaesumus Domine Deus noster [0:54]
22 - Benedicamus Domino [0:35]
Musicians of the
EARLY MUSIC INSTITUTE
Indiana University School of Music
Thomas Binkley
Margaret Bruner, Andrea Fullington, Angela Mariani, Rebecca Miller, Amanda Simmons, Allison Zelles
Amanda Simmons, Assistant Dir.
fuentes:
Wiesbaden, Hessische Landesbibliothek, Hs. 2 [Riesenkodex]
Dendermonde, Belgium, St.-Pieters-&-Paulusabdij Cod. 9
Of
all the saints in the medieval church calendar, none seemed to appeal
to Hildegard as much as Ursula and her 11,000 virginal companions.
Today the account of Ursula's martyrdom in late antiquity in the city
of Cologne seems among the most legendary of all of the medieval
saints' accounts, but in the Middle Ages it was greatly admired.
Its
earliest basis seems to be a fifth century stone from Cologne which
vaguely refers to a site where some holy virgins shed their blood for
Christ. By the ninth century the story appears as an elaborate account
of an extremely beautiful British princess who preferred virginity,
even though she was betrothed to a son of a king. By an elaborate ruse
she gathers around her 11,000 young women and converts them to
Christianity and a life of virginity. All of these women then undertake
a pilgrimage to Rome. Along the way they stop at Cologne, where Ursula
receives a vision which foretells her slaughter and that of her
companions when they return to the site after their visit to Rome. The
women proceed to the Italian city, where they so move the Pope by their
devotion to virginity that he resigns hin see and joins them on their
quest for virginal martyrdom. The women also collect a large group of
young men who are equally dedicated to virginity and who serve as their
protectora. Arriving back at Cologne, they receive the martyrdom
promised them--according to some versions, at the hands of the Huns who
could not bear the sight of all these young people dedicated to
virginity. Ursula is said to have been slain by her fiancee, who
appears on the scene apparently in order to allow Ursula to choose a
heavenly bridegroom over an earthy one.
The story of Ursula and
her companions received a great stimulus in 1106 when a burial ground
near the Church of St. Ursula in Cologne was discovered. This event
stimulated further embellishments to the account (especially in order
to account for the large number of male skeletons on the site), and
greatly stirred the imaginations of both Hildegard and her protege
Elizabeth of Schonau. It is important to notice that in the liturgical
text performed here, the antiphons refer to the specific events in the
legend of Ursula and her companions, while Hildegard's hymn seizes upon
these events as symbols of wider elements of the Christian mythology as
well as her own celebration of female virginity, a celebration
frequently tinged with elements of an erotic mysticism.
Clifford Flanigan, Indiana University