Texte paru dans: / Appeared in: |
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Outil de traduction ~ (Très approximatif) |
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Reviewer: Peter
Loewen In
light of historical testimony concerning Hildegard’s ability to play the
psaltery, Kabatkova takes license to improvise zither and harp
accompaniments to her chants. But this is hardly without precedent;
performers have for some time now been taking liberties with Hildegard’s
music. Perhaps the most striking example is Richard Souther’s 1994
recording, Vision: the Music of Hildegard von Bingen (EMI 52462). The
Tiburtina Ensemble does not go nearly as far as Souther’s rock beat and
world music sounds, nor do they follow the time-honored tradition (since the
early 1980s) of singing Hildegard’s chants with drone and reverberation. The
program consists of chants and anonymous conductus—that is, chordal
harmonizations of Latin songs composed in Paris around the 13th Century. The
voices sound beautiful. When singing in unison, they are of such a single
mind that it is as though one were hearing a single voice. Their musical
phrasing follows the cadence of the text and melodic structure. Instrumental
accompaniments contribute to Hildegard’s rhetoric by affecting the volume
and rhythmic speed, and by adding contrapuntal density to the chant to
emphasize evocative moments in the text. The most attractive characteristic
of conductus is the undulating sequence of chords, juxtaposing consonance
with unexpected dissonance. It is liberating, as though dissonance were used
for the sake of its own expressive color. ‘Deus Misertus Hominis’ is a case
in point. The way singers phrase the music to emphasize harmonic color
brings out the rhetorical properties of the work. Texts and notes are in
English. | |
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