A Companion to Hildegard of Bingen

102 felix heinzer
canonical acceptability.64 With regard to the antiphons and responsories
transmitted in Scivias, Hildegard, in a certain sense, almost paradoxically
suspends this criticism of human “invention” and “fijiction” (adinventiones
vel fijictiones, as the Synod of Meaux expresses its censure). While she obviously
cannot draw on a biblical origin for the texts of her chants, she puts
forward the even more audacious claim for their visionary origin (including
the music!), presenting them, as Barbara Newman elegantly put it,
as the “transcription of a celestial concert” that reproduces heavenly
liturgy itself.
However, the rather scholarly and “unhymnic” style in the texts of some
of these pieces seems to clash heavily with this claim. One example is the
fijirst part of the Marian chant O splendidissima gemma, which opens the
above-mentioned series of visionary songs in Scivias 3.13:
O most splendid gem,
and fair grace like the sun
which streams in you,
a spring leaping from the Father’s heart,
that is His only Word,
through which he created
the prime matter of the world,
which Eve disturbed.
This Word the Father,
made a man in you,
And therefore you are that one shining matter,
whereby the Word exhales all principles,
to form all creatures in the prime matter.
In the notated sources, the chant is rubricated as an antiphon, albeit without
any relationship to a specifijic psalm or canticle, a point that appears
to be typical of the liturgical “vagueness” of Hildegard’s creations. While
the “rhapsodic,” melodic language of O splendidissima, with its wealth of
repetitive elements and its aspects of “ruminating” circularity,65 could be
64 Andreas Haug, “Ein neues Textdokument zur Entstehungsgeschichte der Sequenz,”
in Festschrift Ulrich Siegele zum 60. Geburtstag, ed. Rudolf Faber (Kassel, 1991), pp. 9–19,
esp. pp. 17–18. On these tendencies of the Carolingian era as a possible background for
the ban of such non-biblical elements, see Pierre-Marie Gy, “Les tropes dans l’histoire de
la liturgie et de la théologie,” in Research on Tropes, ed. Gunilla Iversen (Stockholm, 1983),
pp. 7–16.
65 These observations dovetail perfectly with the conclusions of the Bingen conference
of 1998 (see note 1), and are open to diverging interpretations, from a hypothesis of deliberate
rupture with conventional musical rules, in the sense of a conscious artistic strategy,
right up to a verdict of compositional amateurishness and even defijiciency See also Jürg