· The essay ·
The poetic and musical genius of Hildegard of Bingen, an authentic magistra of the women’s community in Disibodenberg, matches her theological speculation and her intense mystical experience. The 77 components – Carmina. Symphonia armonie celestium revelationum (Gabrielli Editore, 2014) – are the echo of the heavenly music that Hildegard heard and of the angels’ song itself. The nun didn’t keep this gift for herself but made it such by offering it to all so that all might perceive the harmony of the firmament and even the Trinity. Love pervades all the songs like a thread that unites, connects and gently urges one to look at Mary. Harmony becomes the code for interpreting the living experience of the nun who wants to infect others with it and to unify God and man, the body and the soul, nature and humanity. In the Carmina different strings are played that vibrate and recall voices that unite, stimulating that well of nostalgia that dwells in the soul of every person, moved in the remembrance of paradise and in the yearning for it. The person begins by feeling akin to the angel and is gladdened, for he discovers the way that leads towards the Trinity. The density of the underlying thought is expressed in the fullness of the song, in its fluidity the Word who becomes flesh expands with the full blossoming of language and the musical impetus, because the action of divine love is great and gives true life. (cristiana dobner)
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