O viridissima virga, antiphon
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O viridissima virga, antiphon
- Date: ca. 1140 -1179
- Composer: Hildegard von Bingen
- Period: Medieval (1-1449)
Review
The contemporary biographer who composed the Life of Abbess Hildegard of Bingen rightfully called attention to her efforts in the fields of medieval science: "She elucidated the nature of man, the elements, and different creatures, and told how humankind is to be served by them." Her scientific achievement -- two complete treatises on medicine and natural history -- is even more exceptional coming from the pen of a woman in her less enlightened time. She did expound in one book on plants (at great length), gemstones, and all varieties of animals, with especial care as to their medicinal properties on human beings. In the other, she details her view of the cosmos and all of Creation, proceeding to an exposition of human illnesses and their relation to cosmological forces. While "modern medicine" in the West may scoff at her more holistic and mystical understanding, her writings express some of the best scientific thoughts of her time in regards to the relationship between humans and their environment. And it should come as no surprise that Hildegard's outlook should infuse her spiritual works. Thus, when she sat down to write Latin poetry in praise of the Blessed Virgin Mary, some of the imagery and basic worldview would seep in.Hildegard's poem O viridissima virga exudes images comparing greening nature, and its healing effects on humanity, to Mary. Hildegard's Mary is the "greenest branch" in the very first line, "sprung forth in the breezes from the lips of the saints"; her branch has "flourished" in the "heat of the sun" like the "odor of balsam." Her flower [Christ] has bloomed, "giving all scents to the world," and because of it "dew rains on the pasture," the "birds of the firmament" can make nests, and a "great harvest" of nourishing corn is made ready for mankind. Those who feast upon the verdant harvest [that is, all Christians] raise songs of great joy. Hildegard's musical form is somewhat vague, but apparently strophic: successive verses all begin with melodic phrases which somehow emphasize the modal tonic pitch of G(Hypomixolydian) and the third above it. The chant proceeds in a neumatic fashion (with relatively few melismas) and remains (for her) rather largely restrained within the plagal modal octave. Yet this musically restrained character clearly maintains its close modal focus to the listeners' ears and allows her luminous text to blossom above the ever-present tonic foundation. ~ Timothy Dickey, Rovi
Albums with Complete Performances of the Work
Albums with Excerpt Performances of the Work
| Title | Date |
| Classical Music Prep School | 2009 |
| O viri Veniti (from Sacrae cantilene concertate) | |
| O viriditas digiti Dei, response for St Disibod |
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