Sources (text editions):
Peter Dronke (Cambridge), copyright 1997
Source (music):
[1]-[10], [15]-[17] Rupertsberger "Riesencodex" (1180-1190),
Wiesbaden, Hessische Landesbibliothek, Ms. 2, fol. 478vb-481vb
[11] Rupertsberger "Riesencodex" (1180-1190), Wiesbaden,
Hessische Landesbibliothek, Ms. 2, fol. 467rb-va
[12] Rupertsberger "Riesencodex" (1180-1190), Wiesbaden,
Hessische Landesbibliothek, Ms. 2, fol. 4470vb
[13] Rupertsberger "Riesencodex" (1180-1190), Wiesbaden,
Hessische Landesbibliothek, Ms. 2, fol. 466rb-va
[14] Realization: Elizabeth Gaver
Playing time: 51' 09" + 40' 52" = 1h 32' 01"
Performers:
Sequentia, Ensemble für Musik des Mittelalters
Sequentia women's vocal ensemble (Vox Feminae): Rebecca Bain
(voice: Caritas, Innocentia, Verecundia), Pamela Dellal (voice:
Felix Anima, Infelix Anima), Suzanne Ehly (voice: Spes, Amor
Celestis), Ellen Hargis (voice: Scientia Dei), Maria Jonas (voice:
Timor Dei), Lydia Heather Knutson (voice: Victoria), Nancy Mayer
(voice: Fides, Disciplina, Patientia), Lena Susanne Norin (voice:
Humilitas), Barbara Thornton (voice: Contemptus Mundi), Janet
Youngdahl (voice: Obedientia, Misericordia) - Barbara Thornton,
dir.
Franz-Josef Heumannskämper (Diabolus)
Sequentia men's vocal ensemble (Sons of Thunder): Patriarchs
and Prophets: John Fleagle (voice), Stephen Grant (voice), Paul
Guttry (voice), William Hite (voice), Frank Kelley (voice), Mark
McSweeney (voice), Eric Mentzel (voice) - Benjamin Bagby, dir.
Sequentia instrumental ensemble: Elizabeth Gaver (direction, medieval
fiddle), Rachel Evans (medieval fiddle. Robet Mealy (medieval
fiddle), Norbert Rodenkirchen (medieval flute), Benjamin Bagby
(organistrum).
Recording site and date:
Basilica of Knechtsteden, Germany [06-07/1998];
Rel.: 1998
This is a new recording. Sequentia's older recording:
Another dramatic German cycle by the present ensemble:
Reviewed in:
Gramophone (Vol./#-p.): 76/904-74 (august 1998)
Fanfare (Vol./#-p.): 22/1-208 (sept./oct. 1998)
Supplementary information from Sergey Lebedev: All instrumental music was composed in medieval style by Elizabeth Gaver; polyphonic arrangements are by Barbara Thornton. The "Interlude" is not a part of Hildegard's original play, but rather some other material (from Symphoniae harmoniae revelationum caelestium) the performers have added from the same manuscript.
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Pierre-F. Roberge