Posts Tagged ‘music women’
Composer Biography: Maddalena Casulana (c1540-c1590)
Also known as Signor Maddalena Casaulana de Mezari or Maddelena Mezari dette Casulana.
Maddalena Casulana was a composer, lutenist, and singer of some repute, and was probably the first woman to declare herself a professional musician and composer.
By 1568, when her piece was conducted at a royal wedding by Orlando di Lasso (c1530-1594), she was already known to be a woman of notable pride and confidence. In the same year, Antonio Molino (c1495-1571), a Venetian merchant, actor, and whimsical writer thought to be one of the founding fathers of the commedia dell’arte movement, dedicated his book of four-part madrigals to Casulana. He said that the work was a product of old age and of studying music with her.
In 1569, the Vicentine poet Giambattista Maganza (c1513-1586) dedicated a canzone to her. In the following year, Maddalena dedicated her second book of madrigals to Dom Antonio Londonio (dates unavailable), a highly placed official in Milan, whose wife, Isabella (dates unavailable), was a noted singer.
She was probably born in Casole d’Elsa near Sienna. Her name implies origin in Casole, but no one knows for sure. Author and astronomer Alessandro Piccolmini (1508-1579) claims her for Sienna, but tells us nothing else about her.
She trained in Casole and then moved to Florence, where her patrons were the first to hear her own compositions. From there, she went on to Venice, where she gave private lessons in singing and composition from around 1568. She was also known to play the lute for private entertainments. She visited Verona, Milan, and Florence, and probably met her husband as she traveled. Nothing is known about her husband. (Isn’t that a switch? Usually nothing is known about the wives!)
In 1568, she published her first collection of madrigals for four voices in Venice. The next two collections were published in 1570 and 1583, and her last was published in 1586. Her works also appeared in anthologies in 1566 and 1567.
As I mentioned at the start, one of her secular Latin pieces was played by Orlando di Lasso (c1532-1594) at the marriage of Archduke Wilhelm V of Bavaria in 1568, along with that of another female composer, Caterina Willaert, a relative (but not offspring) of the famous master, Adriano Willaert (c1490-1562). Sadly, the music hasn’t survived, but it was called Nil mage incundum. It was a five-part madrigal.
Her personal writings indicate that in her early 20s, Casulana set out to be a professional musician, and to support herself with her art. Despite this unusual assertion, she was regarded well by the upper echelons of society.
Not much is known about her activities after 1570, but the poet Giambattista Crispolti (dates unavailable) describes a banquet in Perugia where Casulana sang for her supper in 1582. In that same year, publisher Angelo Gardano (1540-1611) dedicated his collection of madrigals to her, begging her to favor him with her own contributions to the neglected genre.
She performed at a meeting of the Acadamia Olimpica in Vincenza in 1583, which, at one time, owned a portrait of her. In her 1583 publication, her name was Madalena Mezari detta Casulana Vicentina, which suggests that she married at some time after 1570 and settled in Vicenza. Perhaps it was her marriage that kept her out of the public eye. It isn’t known whether she had children or not.
Compositions
Casulana wrote three books of madrigals, the first published musical works ever by a woman. The first collection, printed in 1566, was called Il Primo libro di madrigal.
In total, there are 66 madrigals, of which five previously appeared in anthologies. Another is found only in an anthology (Primo libra de madrigal a Quattro voci, Venice 1568). It was dedicated to Isabella de’ Medici Orsina (1542-1576), a noted patron of the arts and an amateur musician. Casulana made a comment in her dedication to the effect that men don’t hold a monopoly on efforts of intellect.
Her madrigals reveal originality and personal style, but they suffer from being a kind of catalogue of word-painting devices. She doesn’t seem to have had a specific teacher, and some of the stock elements are missing, or are over- or underused. For instance, there are few examples of imitation, and themes are repeated at too close an interval to contrast with the generally homophonic texture. She overuses chromatic alteration and uses such mannerisms as excessive voice crossing (where a low voice ends up higher than a high voice), awkward ranges, strange chord inversions, and too-frequent parallel fifths and octaves.
These weaknesses are eclipsed by original and stunning effects. Textures, sometimes monotonous and cramped, at other times provide effective contrast, such as in passages with dramatic opposition between high and low registers, or passages in the fauxbourdon style (parallel fifths, sixths, or octaves). Her harmonic effects are often striking.
Sometimes, a long melodic line is created where one voice makes a slow and dramatic chromatic rise, culminating at the climax of the piece. Her use of dissonance is also masterful and modern, often sprinkled with dominant seventh chords, approached and resolved in the usual way, at a time when this chord could hardly be found elsewhere, except in the music of such composers as Cipriano Rore (c1515-1565), Adrian Willaert (c1490-1562), or Orlando di Lasso (c1530-1594).
Her texts include some of her own poetry and some by Petrarch (1304-1374), Annibale Caro (1507-1566), Luigi Tansillo (1510-1568), Jacopo Sannazaro (1458-1530), Serafino Aquilano (1466-1500), Vincenzo Quirino (dates unavailable), Bernardo Tasso (1493-1569) and Giulio Strozzi (dates unavailable, but adoptive—and probably natural—father of Barbara Strozzi).
Composer Philippus de Monte (1521-1603) tried to enlist her help in reviving the three-part madrigal, and referred to her as “the muse and siren of our age.” But then she disappeared.
Sources:
“The Norton/Grove Dictionary of Women Composers,” edited by Julie Anne Sadie and Rhian Samuel. W.W. Norton & Company, New York, 1995.
“Women in Music,” edited by Carol Neuls-Bates. Northwestern University Press, Boston, 1996.
“The History of Western Music,” by J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca. W.W. Norton & Company, New York, 2010.
“Women & Music, A History,” by Karin Pendle. Indiana University Press, Bloomington, 2001.
“Women Making Music, The Western Art Tradition, 1150-1959,” edited by Jane Bowers and Judith Tick. University of Illinois Press, Urbana, 1997.
Composer Biography: Trobairitz, The Female Troubadours
Only a few women are known to have produced troubadour music. As a species, they’re called the trobairitz, and there are probably more women among the unattributed troubadour music that haven’t yet been identified. The truth is, we don’t know who wrote most of the poems and songs.
There are 2100 troubadour pieces preserved, only 1400 of which include the music. Only 460 troubadours have been identified, and so far, the one who produced the most music (45 pieces) is Bernart de Ventadorn. That means that loads of the remaining pieces could have been written by women; we just haven’t identified them yet. Certainly, most of the pieces are ABOUT women. Which doesn’t preclude women from having written them.
The term trobairitz wasn’t used by these female troubadours themselves, but came up in 13th century Flamenca, which is now in Spain. Trobairitz comes from the same word as troubadour, “trobar,” which means “to compose” or “to find.”
The trobairitz composed, wrote poetry, and performed for the Occitan noble courts. They were part of courtly society—some of the troubadours, such as Bernart de Ventadorn, were of lower class, but the trobairitz weren’t. They were all nobility. They were also the first known female composers of western secular music.
Women at court were expected to sing, play instruments, and write poetical debates. And noblewomen in southern France had more control than elsewhere regarding land ownership because so many of the men were away on the Crusades. That led to the existence of the (somewhat) free-spirited trobairitz—educated, monied, and uncommitted.
We have records of their lives from something called vidas, which were loosely based the hagiographies called vitas. It’s interesting that most of these vidas were produced after the troubadour period ended. They’re pretty unreliable sources, as they often consisted of romanticized extrapolations from the poetry that the trobairitz (and troubadours) produced. But they name 23 female poets with 32 works attributed to them, so we have to be grateful for that.
The number of songs attributed to trobairitz is somewhere between 23 and 46, depending on your sources. There are many reasons for the discrepancy. It’s hard to know from the poetry itself whether or not it was written by a woman, a man speaking as a woman, or a woman speaking as a man. Some songs were presumed to be written by a certain person regardless of whether they were or not. Others were part of an exchange where two people wrote back and forth and perhaps only one got credit, or credit was given to two men when one of the writers was female. Some modern editors attribute the exchange only to the originator, male or female. And of course, many were anonymous.
The most famous trobairitz was Comtessa Beatriz de Dia, but you should know some other names, too.
Alamanda (fl. late 12th century)
Not much is known about Alamanda, but it’s thought that she was from Castelnau (near Montpelier).
She exchanged a tenso (argument song) with with Giraut (or Giraut) de Bornelh (c1138-1215) called S’ieus quier cossella bel ami Alamanda. The music survives in one manuscript and is the only example of her work that exists. Giraut wrote love songs to her.
Alamanda was considered fictitious until recent efforts revealed three other troubadours’ mention of her, including the trobaritz Lombarda (see below) from Toulouse.
Azalais de Porcairages (fl. mid12th century)
Also Alasais de Porcaragues
Nothing is known of Azalaiz’s dates but it’s thought that she came from the village of Portiragnes, just east of Beziers and about six miles south of Montpellier, close to the territories owned by the man she loved and his brothers.
Only one of her poems survives. The music is lost. The poem has 52 lines but the text varies considerably between manuscripts, so we only know for sure about the subject matter. The poem is nominally about the 1173 death of Raimbaut of Orange (c1147-1173). Raimbaut was the son of William VII and Tibors, who are going to come up again in a minute, in the Tibors discussion.
At any rate, the poem mentions Ermengarde of Narbonne (1143-1197), a well known patroness of troubadour poetry. The third strophe of the poem contributes to an ongoing debate begun by Guilhem de Saint-Leidier (c1150-c1200). The question was whether a lady was dishonored by taking a lover who was wealthier than herself. According to her vida, she was the lover of Gui Guerrejat (1135-1178), brother of Guillaume VII of Montpellier (1158-1202). Gui Guerrejat (1135-1178) returned her affections, but then he fell ill, became a monk, and died within the same year.
Castelloza (fl. early 13th century)
Castelloza was a noblewoman from Auvergne. She was the wife of Turc de Mairona (dates unavailable), probably the lord of Meyronne. Turc’s family participated in a Crusade sometime between 1210 or 1220, which was the origin of his name (meaning “Turk”). Castelloza was thought to be in love with Arman de Brion (dates unavailable), a member of the house of Breon and of greater social rank than her. She wrote several songs about him.
Castelloza’s vida says that she was very cheerful and fun as well as learned and beautiful. Three, possibly four, of her songs survive, all about courtly love, and all without the music. This number makes her the second most prolific of the trobairitz after Beatriz de Dia. Castelloza is a more conservative poet than Beatriz, and although she remained committed to absolute fidelity, she talks at length about conditional and unconditional love.
Garsenda de Proença (c1180-c1242)
Garsenda was Countess of Provence and Countess of Forcalquier. She was the daughter of Rainou (or Renier), who was Lord of Caylar (dates unavailable), and Garsenda (dates unavailable), daughter of William IV of Forcalquier (1130-1208). After her mother died, Garsenda inherited Forcalquier from her grandfather. The Crusades had eaten away at the males in the family.
Garsenda was only 13 years old when William IV and Alfonso II (1157-1209) signed the Treaty of Aix in 1193, which allowed Garsenda to inherit William’s whole county. They also agreed that Garsenda would marry Alfonso II, who was in line to become Count of Provence. They married at Aix-en-Provence the same year and had at least two children, Raymond Berengar IV (1198-1245) and Garsenda (dates unknown).
In 1209, both Garsenda’s father and her husband died, and Garsenda became the guardian of their son and heir. Her brother in law, Peter II of Aragon (1178-1213), assigned the regency of Provence to his own brother Sancho (dates unavailable), but when Peter II died in 1213, Sancho became regent of Aragon and passed Provence and Forcalquier to his son Nuno Sanchez (c1185-1242).
Dissension broke out between the Catalans and the partisans of the Countess, who accused Nuno of trying to supplant Garsenda’s son, Raymond Berengar (1198-1245). The Provencal aristocracy allied themselves with Garsenda. Overwhelmed, Nuno high-tailed it back to Catalonia. The regency passed to Garsenda and a regency council was established from among the local nobles. She brought Forcalquier to the House of Barcelona and united it to Provence.
During her tenure as regent (c1209-c1220), Garsenda became the focus of a literary circle. The vida of troubadour Elias de Barjols (fl.1191-1230) refers to his patron as Alfonso, but Alfonso was long dead, so it was likely Garsenda.
There’s a tenso (an argument or debate in song) between Garsenda and an anonymous troubadour. In the poem, the lady declares her love for her interlocutor, who responds rather carefully. Some experts think that the unidentified troubadour is Gui de Cavailon (fl.1200-1229), whose vida includes the rumor that he was the countess’ lover. Gui was at the Provençal court between 1200 and 1209, so it’s possible.
Garsenda was a patron of Occitan literature, especially the troubadours, as well as writing her own poetry and songs. One of Garsenda’s poems survives in two different manuscripts, without music.
She was also the subject of a few songs. Aquitainian troubadour Elias de Barjois (fl. 1191-1230) fell in love with her during her widowhood, and for the rest of his public life, wrote songs about her. He entered a monastery with his love unfulfilled. Raimon Vidal (c1196-1252) also praised Garsenda’s patronage of troubadours.
In 1217 or 1220, Garsenda ceded Forcalquier to her son and retired to the monastery of La Celle (about 140 miles northeast of Limoges and about 75 miles from Forcalquier) in 1225. In 1242, she left the monastery to visit her newly born great granddaughter, Beatrice of England (1242-1275) in Bordeaux. Beatrice’s father, Henry III of England (1207-1282) was engaged in a war in France, and Garsenda brought 60 knights to help his cause.
She may have lived until 1257, when someone named Garsenda made a significant donation to a church in St. Jean (in the Pyrenees) on the condition that three priests pray for her soul and that of her long-dead husband.
Gormonda de Monpeslier (fl. 1226-1229)
Gormonda was from Montpelier in Languedoc. Only one piece has been attributed to her, but it was called the first French political poem by a woman.
She wrote a response to the famous anti-papal songs of Guilhem Figueira (c1208-after 1244), called Greu m’es a durar, imitating Guilhem’s poem in meter and rhyme for about 20 stanzas. Instead of blaming the papal legate Pelagius of Albano (c1165-1230) for the failure of the Fifth Crusade, she laid the blame on the foolishness of wicked people. She approved of the Crusade against the heretics at home, saying that heresy was more dangerous than Islam, and that the hearts of the heretics were false. She expressed an interest in watching Guilhem being tortured to death; she was probably not as fun to be around as Garsenda or Castellosa.
Little else is known about her, but it seems likely that she was closely associated with the orthodox clergy of southern France, Pope Innocent III (1160-1216), the French monarchy, and many other troubadours because of her political stance.
Lombarda (c1190-1262)
Lombarda is known only from her vida and a short tenso (argument song). She was probably from a banking or merchant family, and possibly from Gascony. According to her vida, she was noble, beautiful, charming, learned, and skilled at composing songs about fin’amors.
She was probably married and in her early 20s at the time of her poetic activity. Before 1217, when Bernart Arnaut (d.1226) claimed Armagnac, Bernart’s brother Geraud V (d.1219) visited and befriended Lombarda. He didn’t get a chance to say goodbye when he left and sent a short poem to her house. Lombarda’s response is her only surviving work.
Her one attributed poem is in the trobar clus style (a “closed” style enjoyed by a scant few and perfected by Marcabru c1099-1150), one of the few women to do so. Her only surviving work is included in her vida.
Maria de Ventadorn (c. 1165-1222)
Also Maria Ventedorn, Marie de Ventadour, Marie de Turenne, Marguerite de Turenne.
Maria was the daughter of Raimon II Viscount of Turenne (1143-1191), and the wife of Eble V (d. after 1236), Viscount of Ventadorn. Along with her two sisters, she, according to Bertran de Born (c1140-before 1215), possessed “all earthly beauty.” She was the beloved patron of many troubadours.
She had a son, Elbe VI (dates unknown), who married Dauphine de la Tour d’Auvergne (1220-1299), and a daughter, called Alix or Alasia. Elbe V, Maria’s husband, was the grandson of Eble III (d.1170), who’d been a patron of the early troubadour Bernat de Ventadorn, and he was the great-grandson of Eble le chanteur (after 1086-1155), believed to have been among the creators of the troubadour genre.
Maria exchanged a tenso (debate song) with Gui d’Ussel (fl.1195-1209). This one poem is the only surviving example of her work, and no music survives. The song dates from around 1197. She and Gui alternated verses, debating whether becoming a lady’s lover elevates a man to be her social equal or whether he remains her servant. Maria argued the servant side.
She was mentioned in the works of several troubadours, including those of Gaucelm Faidit (c1170-c1202), the Monk of Mantaudon (fl 1193-1210), Gausbert de Puicibot (fl.1220-1231), Pons de Capduelh (fl. 1160-1220), Guiraut de Calanso (fl.1202-1212), Bertran de Born (1140s-c1215), and Gui d’Ussel (fl.1195-1209). She may also have had her own knight, Hugh IX of Lusignan (c1163-1219).
Tibors de Sarenom (c1130-after 1198)
Tibors was the sister and guardian of the troubadour Raimbaut d’Orange (c1147-1173) and the wife of the troubadour Bertrand des Baux (c1137-c1183). She was the earliest known trobairitz during the classical period of medieval Occitan literature, at the height of troubadour activity.
Only one poem and no music of hers survives. It’s the earliest surviving trobairitz poem, from 1150, called Beis dous amics and is included in her vida. Her name is in an anonymous ballad dated between 1220-1245, wherein she acts as the judge of a game of poetry.
She was a lady of Provence, from a castle of En Blacatz, called Sarenom, about 110 miles northeast of Marseille, and 40 miles from Forcalquier, where Garsenda (see above) lived near the end of Tibor’s life. Tibor was courtly and accomplished, gracious, and very wise. She knew how to write poems, and she fell in love frequently and had suitors. She was greatly honored by all the men in her circle, and she was admired and respected by all the worthy ladies, according to her vida.
Her history is hard to parse. Most of the vidas were more hypothetical than factual, and Tibors was a very common name in Occitania. Her mother (Tibors d’Aurenga, dates unavailable), and her two daughters (yes, both of them) were also named Tibors.
Her father was Guilhem d’Omelas (d.c1156), and he came to own the castle of Sarenom (possibly present-day Serignan-du-Comtat in Provence or maybe Serignan in the Roussillon) through his marriage to Tibors d’Aurenga. Tibors d’Aurenga’s minor son (our Tibors’ brother) Raimbaut d’Orange (c1147-1173) inherited the castle when Tibors d’Aurenga died, so Tibors (our Tibors) and her second husband Bertran dels Baus (c1137-c1183) took it over.
Tibors had three sons by Bertran, Uc, Bertran, and Guilhem, also a troubadour. Tibor died shortly after Bertran. Documents about her are confusing (for obvious reasons).
Sources:
“Music in the Medieval West; Western Music in Context,” by Margot Fassler. W.W. Norton & Co., New York, 2014.
“The Norton/Grove Dictionary of Women Composers,” edited by Julie Anne Sadie and Rhian Samuel. W.W. Norton & Co., New York, 1995.
“Women Writers of the Middle Ages,” by Peter Dronke. Cambridge University Press, New York, 1984.
Composer Biography: Byzantine Women Composers (8th and 9th Century)
I was researching something else, and I came across the most wonderful CD. It was music by Byzantine composer Kassia, from the 9th century. And here I thought Hildegard was the first named composer! Apparently, she was only the first named composer in the West—Byzantium was naming them left and right, and Kassia is not only earlier, but she’s also a woman!
First, a little history about how Byzantium (which is a modern appellation, by the way. I’ll use it here as a convenience) came to be separate from the West in religion, culture, and language.
The Catholic papacy had a long tradition of eastern orientation, but in the 8th century, the Byzantines split off after the papacy refused to pay taxes to the Byzantine Empire. They also refused to destroy religious icons, because such destruction seemed too close to the Islamic policy banning religious images. There was more to it than iconoclastic differences and fear of Islam, but the result was a papacy vulnerable to the Lombards of Northern Italy, which ultimately led to an alliance with the Carolingian family in the form of Pepin the Short, Charlemagne’s father.
There was a lot of arguing about whether the Eucharistic bread actually became God’s body and so forth, but the great split between Eastern Orthodox Catholics and Roman Catholics happened when Pope Leo II crowned Charlemagne (c742-814) as Holy Roman Emperor in 800. Charlemagne was the first to be named Holy Roman Emperor since the collapse of the Western Roman Empire three centuries earlier, when Justinian tried to bring Eastern (Byzantine) power further west and ended up dividing rule of the land into several pieces.
Not only the religions but also the cultures diverged wildly after this point. Byzantium used the Cyrillic alphabet, incorporated Indian and Arabian influences into music, architecture, and other art forms, and the language of the literate was Greek. Under Roman rule, Latin was the unifying language of the literate, music and other art forms took on what we now identify as distinctly European affects, and the Roman alphabet was used.
Byzantine music tends to be wildly ornamental, with lithe wriggling endings to long notes, quick turns and decorations in instrumental parts, and extremes of high and low voices. Roman music is more straightforward, requiring less virtuosity but with its own kind of serene beauty. Where church modes (see Musical Modes, Part 1: Church Modes) developed in Roman Catholic lands involving a tuning based on a sequence of three whole tones, a half tone, and another whole tone, Byzantium retained the old Greek modes, which were based on a stricter, more mathematical splitting of string lengths into five pentatonic notes. (For those interested in temperament, this ends up being the difference between Just and Mean tones before they knew it was called that.)
Byzantium became the Ottoman Empire, after bunches of wars and other disruptions, around the 15th century. Even so, a sharp divide between the sound of eastern music and that of western still remains.
Now that you have some context, let’s take a listen to some Byzantine music and explore some composers’ biographies.
Recordings:
- “Les Tres Riches Heures du Moyen Age, CD 1: Les Premieres hueres de l’Ere Chretienne.” Harmonia Mundi, 1995
- Hesperion XXI, Montserrat Figueras, Gürsoy Dinçer, Lior Elmaleh, Jordi Savall, et al. “La Sublime Porte, Voix d’Istanbul 1430-1750.” Alia Vox 2011.
- Peter Rabenser, Belinda Sykes, Jeremy Avis, Oni Wytars Ensemble. “From Byzantium to Andalusa, Medieval Music and Poetry.” Naxos 2006.
- Soeur Marie Keyrouse, SBC. “Chants Sacres Melchites, Hymnes a la Vierge.” Harmonia Mundi France, 1994.
- Marcel Peres and Ensemble Organum. “Chant Mozarabe, Cathedrale de Tolede (15th Century).” Harmonia Mundi France 1995.
- Sister Marie Keyrouz, SBC. “Byzantine Chant,” Harmonia Mundi France, 2008.
Sources:
- “The Early Middle Ages, Part 2 of 2,” by Professor Philip Daileader of the College of William and Mary. The Teaching Company’s “The Great Courses,” Chantily, 2004.
- “Charlemagne, A Biography,” by Derek Wilson. Vintage Books, New York, 2005.
- “Charlemagne,” by Roger Collins. Unversity of Toronto Press, Toronto, 2008.
Kassia (c805-before 865):
Kassia (also Kassiani, Ikasia, Cassie, and Cassianne), was a Byzantine abbess, poet, composer, and hymnographer. Her name is the feminine Greek form of the Latin name Cassius.
She was one of the first Medieval composers whose scores have survived. We have about 50 of her hymns, and 23 are included in Orthodox Church liturgical books that are still used today. The exact number of her compositions is difficult to assess, as many hymns are ascribed to different authors in various manuscripts or are identified as anonymous. About 790 of her attributed non-liturgical verses still exist.
Kassia was born between 805 and 810 in Constantinople into a wealthy family, and was said to be very beautiful and intelligent. Three reliable chroniclers claim that she participated in a Bride Show where the prospective groom gives a golden apple to the woman of his choice, from among all the potential brides lined up at a party. In this case, the prospective groom was the soon-to-be-emperor Theophilos (813-842). He chose Kassia, and when he quoted a Bible verse meant as a compliment (something about all sin coming from intelligent and beautiful women, a reference to Eve), she responded to it in kind (something about good things coming from women, a reference to the Virgin Mary). He felt rebuffed and chose someone else, but remained Kassia’s supporter until his death.
In 843, Kassia founded a convent in Constantinople near the Constantinian Walls. She was the abbey’s first abbess. The monastery had a close relationship with the nearby monastery of Stoudios, which would play a key role in re-editing the Byzantine liturgical books in the 9th and 10th centuries, and which is why her work survived.
Emperor Theophilos was bothered by the Eastern Orthodox veneration of icons. Despite being scourged with a lash as punishment, Kassia remained an outspoken icon defender. When the Theophilos died, the age of iconoclastic destruction also ended.
Kassia is notable for being one of very few women to write in their own names during the Middle Ages. Her most famous composition is the “Hymn of Kassiani” is still sung every Holy Wednesday. It has a large range and is considered to be one of the most difficult pieces of solo Byzantine chant. It’s a unison piece, sometimes with a vocal bass drone. Church attendees make an issue of going to church specifically to “listen to Kassiani.”
Other important works include the “Doxastichon” (for Vespers on Christmas Eve), numerous hymns honoring saints, the “Triodon” (sung during Lent) and the “Irmoi” (for Matins for Great Thursday), and her longest piece, “Canon for the Departed” (for requiem services).
Kassia briefly traveled to Italy and then settled in the Greek Island of Kasos, which is where she died sometime between 867 and 890. Kassia’s tomb and reliquary are in a church in Panaghia.
Her feast day is September 7th, and she’s often pictured on the icon of the Sunday of Orthodoxy (the first Sunday of Great Lent).
Recordings include:
- VocaMe: “Kassia—Byzantine Hymns of the First Woman Composer,” 2009. Only works by Kassia, including Augustus. (This is the one I’m completely hooked on.)
- Kronos Quartet: “Early Music,” 1997. Includes an instrumental version of “Using the Apostate Tyrant as His Tool.”
- Sarband: “Sacred Women, Women as Composers and Performers of Medieval Chant,” 2001. Includes “Augustus.”
- Deborah Kayser and Nick Tsiavos: “The Fallen Woman,” 2008. Includes the Kassiani Hymn. Search for this one on YouTube
- Capella Romana and the English Chamber Choir: “Choral Settings of Kassiani and When Augustus Reigned,” 2011.
Sources:
- “The Byzantine World,” edited by Paul Stephenson, 2013.
- “Byzantine Women, Varieties of Experience, 800-1200” edited by Lynda Garland. Ashgate, 2006.
Khosrovidukht (8th century)
Also Xosrociduxt.
One of the earliest known women musicians, Khosrovidukht was once thought to have been a member of the Armenian royal family, but experts are now uncertain. There are stories that her brother was abducted by Arabs and that she was taken to the fortress of Ani Kaakh (now called Kemah) for safekeeping. She stayed there as a hermit for 20 years.
She’s thought to be the composer of a sarakan, or canonical hymn, called “Zarmanaii e Ints” (How Wondrous it is”), which honors the memory of her brother, thought to have been assassinated in 737 for his conversion to Christianity. It’s a secular piece, but it was sanctioned for use in the Armenian Church.
Recordings include:
- Sharakan Early Music Ensemble. “The Music of Armenia, Volume 2.” 1996.
- YouTube: http://www.youtube.com/watch?v=Z_XkMq343gA
Sources:
- “Norton/Grove Dictionary of Women Composers,” edited by Julie Anne Sadie and Rhian Samuel. W.W. Norton & Company, New York, 1995.
Sahakdukht (8th century)
Sahakdukht came from a musical Armenian family, and had a famous brother, music theorist Stephannos Syunetsi (dates unavailable—like hers).
She herself was a composer of hymns, and she was a poet and pedagogue. She lived in a cave near present-day Yerevan, and wrote ecclesiastical poems and liturgical chants. Only one survived, “Srbuhi Mariam” (St. Mary), a nine-stanza verse. Many of her works are Marian Hymns, and some may have helped to shape the genre. (In the Latin liturgy, the Marian hymns are my favorites. They’re often gentle and sweetly loving, and use metaphors that I find particularly pleasing.)
Sahakdukht is said to have taught lay musicians and clerical students who visited her cave. According to custom, she stayed seated behind a curtain during all interviews and visits. It must have been a very long and slow 20 years…
Recordings include:
- YouTube: http://www.youtube.com/watch?v=WPpBhCRu9oU The writing is all in Armenian so I don’t know who made the recording in 2013, but it’s an organ rendition of the music, with a male reader reciting the poem to St. Mary in both Armenian and English, a wonderfully evocative reading.
- YouTube: http://www.youtube.com/watch?v=esUyotSYNYQ&list=PL2513815CE996C2F4/ Another nice organ version, with readings in Armenian. Sadly, there is more of the poetry than the music, but it’s still nice. It’s 31 minutes long, so settle in.
Sources:
“The Norton/Grove Dictionary of Women Composers,” edited by Julie Anne Sadie and Rhian Samuel. W.W. Norton & Co., New York, 1995.
Composer Biography: Hildegard von Bingen (1098-1179)
Hildegard has a reputation as a composer and a visionary, but in truth, she was way more than that. Yes, she’s the first named composer in western music, and yes, she had visions, but she was also an herbal healer, a preacher, a moralist, a frequent correspondent with kings and popes, and a societal reformer. It’s no wonder that feminists have taken her as an icon, although she would have been more than a little horrified by that. She firmly believed that women had their place in the church and society, and that it was not as leaders. But times were changing in the 12th century and Hildegard was part of it all.
As the choir (a trained group of musicians) took over singing during religious services from the priests (not trained as musicians) in the 4th and 5th centuries, women began to participate in the services, most notably in monasteries. Life in a monastery revolved around the eight daily Divine Offices and regular Masses, but in between, the women worked, learned to read Latin, and learned to make music.
Women were forbidden to instruct or supervise men, and all communication outside the monastery would have been through abbots and bishops or male family members. But Hildegard didn’t need intercession. She claimed to have direct communication with God in the form of visions and prophecies, and it didn’t take long for her voice to be heard outside the convent.
Even as a small child, Hildegard’s health was poor and she suffered serious headaches, probably a type of migraine that causes visual hallucinations. Because of the nature and frequency of both her illnesses and her visions, Hildegard wanted to become a nun. She was also a tenth child, traditionally the child sent to a monastery as a tithe, so her family was thrilled that Hildegard was as eager to go to the monastery as they were to send her there.
She was the daughter of Hildebert and Mechtild (people didn’t have last names back then), a noble family in Bermersheim bei Alzey in the Rhein region of Germany. Several of her siblings would also enter the church. Some of them would help her later in life, but most are not documented—even some of their names are not known.
At age six or eight (there’s some disagreement on this) she left home to be boarded into an anchorage (a type of hermit life) with her-slightly older (and hyper-fanatical) cousin Jutta, and by age 14, she had taken vows herself. She spent the next 30 years boarded in with her cousin at Disibodenberg Abbey, a double monastery (both men and women). When her cousin died after 30 years of incarceration, Hildegard was unboarded from the anchorage and was soon elected to be the magistra, the leader of the women.
Not long after her release, Hildegard had a vision that she should write her visions down, and as a result, she developed a correspondence with the already-famous Bernard of Clairvaux. He thought fondly of her and was supportive of her writing, and brought her visions before the pope, who declared her a prophet and encouraged her work.
Soon, Hildegard found life at Disibodenberg restrictive and she made plans to build her own monastery further north, on a pleasant kink in the Rhein River, near the village of Bingen and about half way between Köln and Frankfurt. But the abbot and monks didn’t want her to leave (at least in part because of the dowries and benefactor-income that Hildegard and the nuns brought to the monastery), and in order to encourage them to change their minds, God struck her down with a wasting illness. She lay in her bed like a block of stone, according to her biographers. Even the abbot was unable to lift her head and began to question whether he dealt with human suffering or divine punishment.
Finally, against the wishes of the abbot and at least one of the priests at Disibodenberg, in 1148, she and most of the nuns went to Bingen and built a monastery there. The first attempt, at Rochusberg, burnt to the ground when nearly finished, and Hildegard moved to a more auspicious location where the Rhein met the Nahe River at Rupertsberg (across the Nahe from Bingen. Both structures were within a few minutes’ walk from the village of Bingen).
Controversy regarding the nuns’ dowries raged for many years—when Hildegard left Disibodenberg, she argued that the wealth of the nuns belonged with them and would provide independence for the Bingen monastery. The abbot at Disibodenberg profited from the nuns’ dowries and continued association with Hildegard, and he refused to relinquish the funds for more than a decade. Hildegard’s abbeys (there were two, in the end) were never to be free of the “parentage” of Disibodenberg in Hildegard’s lifetime, and even once the dowries were released, they still owed the presence of a priest and many other benefits to Disibodenberg.
Hildegard was so famous and popular (largely as a result of publishing her visions), that she formed a second monastery across the Rhein, in Eibingen. Breaking with tradition, this house was meant for merchant-class women rather than nobility, and these women had to earn their keep. To do this, they made pottery, grew medicinal herbs, gleaned honey from their own honey farms, and made small silver jewelry. (These activities continue to this day, in a refined form, in the Eibingen monastery. Both Bingen and Disibodenberg monasteries are ruins now.)
In addition to the visions, Hildegard also became notorious for the music she composed. She claimed that her music was divinely inspired, and it resembled no other music at the time. There’s a kind of ecstatic quality to the chant, and she wrote her own poetry rather than using Bible verses, like other religious music. People who came to Bingen for medicinal help or to hear Hildegard speak about her visions made copies of Hildegard’s music, which is why it survives today—the originals were destroyed or lost in countless wars and battles.
A nun called Richardis, who was a sister to the Archbishop Hartwig of Bermen, came to Disibodenberg around 1148 and they formed a very close relationship. There are some rumors of a lesbian affair, based on rather explicit descriptions of female orgasm in Hildegard’s writing, but the nature of the relationship was never established one way or the other. In 1151, Richardis’ mother arranged for her to become abbess (and out from the shadow of Hildegard) at Bassum, near her brother in Bremen. Hildegard objected strenuously and many letters were written beseeching officials not to separate her from her friend. But Richardis went off, and within a few months, Richardis died, leaving Hildegard tormented by grief. She had lost the one friend she’d ever had.
After a lengthy grieving period, Hildegard poured herself into her work again, and began writing books, music, and sermons like no one ever before. She came to the attention of the pope, clergy, church hierarchy, and the general public, including rulers and magistrates. She became so popular and powerful that she took to giving people unsolicited advice, an activity that could have cost her head on several occasions.
In 1164, she wrote a letter to Frederick Barbarossa, a notoriously violent emperor, condemning his lax attitude toward the Cathars (a nomadic fundamentalist group) and for his role in the appointment of the anti-pope Paschal III. Barbarossa had already written a letter of protection for Hildegard and the Bingen monastery in 1163, and despite his tendency to ruthlessly slaughter folks who disagreed with him, he continued his protection of Hildegard and her monasteries until and beyond her death.
She was renowned outside the monastery and the Catholic church as a visionary in her own time and in ours. Her writings and music were edited and published in the 19th century, starting a resurgence of interest in her. By the late 20th century, she had become almost a cult figure among philosophers, feminists, musicians, and naturopaths. She was canonized and made Doctor of the Church in 2012 (after many delays). She’s one of the most recorded and best-known composers of sacred monophony (chant), and one of very few known to have written both the music and the words. (Most chant from the period uses biblical passages.)
Although she claimed to be ignorant and uneducated, she wrote in Latin, and was clearly familiar with the writings of two musical theorists, Boethius (c480-524) and Guido D’Arezzo (c991-after 1033, who invented Do-Re-Me, and about whom you can read here). She probably denied her education (she had private tutoring when she was boarded into the anchorage) as part of her efforts to make people accept that she was divinely inspired, and partly because of gender politics.
She was a prolific writer. Between 1143 and 1171, she wrote Scivias (chronicling 26 visions), Physica and Causae et Curae (medical advice), Vita Meritorium (on virtuous living), Liber Divinorem Operum (on the works of the devine), Vita Sanct Disibod (biography of Saint Disibod, the hermit who founded her childhood home), and other books, which amounted to several thousand pages. She supervised a large number of illustrations for her visions, corresponded heavily with nobility and royalty throughout Europe, advised and sometimes chastised public figures—including church leaders—for what she thought was bad behavior, and spoke publically for church reform (mostly against the Cathars, an extremist and fundamentalist group).
Traditional (and almost reflexive) pressure to remain humble through humility and self-abnegation caused Hildegard, like most other composers of the time, to insist that her work came through external forces. She declared that she was merely a vessel for divine revelations. Men also made these claims, but it was particularly important for a woman to decry any ability to compete with the men who composed or documented music. But because others wanted copies of her music, we are fortunate both that they have survived and that we know who wrote them.
Hildegard set her own religious poems to music starting in the 1140s. There are 77 pieces in all, plus the morality play Ordo Virtutum, that includes another 82 antiphons. There are more surviving chants from Hildegard than any other composer in the entire Middle Ages.
Many of her works were written to honor a particular saint, with Disibod, Rochus, Rupert, and Ursula featured among them. The Ursulan antiphons are a cohesive group of eight songs that form a narrative, and tell the story of Ursula, a 6th or 7th century British saint who traveled with 11,000 virgins and was murdered by the Visigoths in Köln. This collection was a particular favorite of Hildegard’s and happens to be my favorite of her compositions as well. If you ask me to sing Hildegard, that’s probably what you’ll hear.
Most of Hildegard’s songs were antiphons and responsories for the Office and sequences for the Masses, some dedicated to local saints (Disibod, Rupert, Barbara, Ursula), or praising the Virgin Mary or the Trinity. They were preserved in two books, the Dendermonde manuscript, which was copied under Hildegard’s supervision, and the Reisencodex, which was copied after her death and contained slightly more of the music, including Ordo Virtutum.
The existence of the Dendermonde and the Reisen codices provide implied evidence that Hildegard’s music was performed beyond her own monastery and heard by others, who wanted to bring it home to their own monasteries. The originals were destroyed, but copies allow us to see the music in the hand of the priest Volmar, her steady tutor and friend until his own death in 1173.
Ordo Virtutum, written in 1151 or so, was a liturgical drama, yet not attached to liturgy. It’s a drama in verse with 82 separate songs that form a morality play with allegorical characters. In it, the Virtues lead the Soul back to the community of the faithful and out of the clutches of the Devil. All of the characters sing except the Devil, whose spoken part symbolizes his separation from God. This marvelous piece of musical theater is credited with being the earliest known liturgical morality play. The next one wasn’t written for two hundred years.
Hildegard’s music varies from highly syllabic to dramatic melismas (swirling melodies on a single open syllable). Her music is quite distinctive and easily recognizable, with unusual elements for the time, including exceeding an octave by a fourth or fifth, and large and frequent leaps. Her repertory of rhythmic and melodic tricks was small, making the music quite distinctive—like she had a theme she kept working on. Where Gregorian chant uses the words as a foundation, Hildegard writes to lengthen and emphasize the syllables of particular words using a concept of stable and unstable notes—in modern terms, that’s kind of like unmoving and moving notes in terms of gesture. She chose this over traditional Gregorian chant as a method for increasing contemplation on the words, making them a kind of sung prayer.
Because Hildegard wrote for women’s voices, there are many differences between her songs and traditional Gregorian chant. For one thing, women’s voices often have a greater range than men’s, so Hildegard’s songs can contain up to two octaves, where men’s chant seldom exceeds a single octave. Women’s voices are often more flexible, so quick little turns and flourishes are also a popular feature in Hildegard’s music that isn’t found in Gregorian chant.
It’s clear that she used music as a vehicle for her own mystical experience, and for those with a less audible connection, it was a way of making God seem palpable. It’s easy to imagine the songs being sung in a woodsy bower, little silvery songs of happiness floating up to the heavens.
Although she didn’t invent the concept, Hildegard loved to play with word-painting, where the shapes and sounds were often descriptive even without the text. For instance, “virga” was a favorite word: in music notation, it’s a 7-shaped squiggle that represents the most stable of notes, in Latin, the word means a branch, like a branch of a tree (not the root but the result of growth), and it’s also the Latin term for virgin, a famous Christian theme. Another big theme for Hildegard was veriditas (greening), which was a way for heavenly integrity to overcome earthly dualisms. Many of Hildegard’s poems have to do with veriditas and how nature is a metaphor for a relationship with God.
Some theorists claim that Hildegard’s music and poetry is filtered within the female-centered religious experience that includes homo-erotic desire, while others claim it to be asexual, with metaphors of ecstasy and romance having more to do with the tradition of Christ as a bridegroom.
It was common for abbeys to have a special collection of chants written to celebrate whoever their local saints were, used on feast days and at other times during the year. But Hildegard went a little further. Many of her songs are about women: 16 to the Virgin Mary, 13 to St. Ursula, and four to various other groups of women. Sixteen of her songs are addressed to local or individual male saints, and the remaining 28 are dedicated to God and the Holy Spirit. Her imagery is predominantly woman-centered, but she was a nun, after all.
She corresponded with Bernard of Clairvaux (1090-1153, prime builder of the Cistercian order of monasteries and probably the father of the movement that led to the Spanish Inquisition) and Frederick Barbarossa (1122-1190, prime motivator for the separation of church and state in Germany and a brutal enemy in war) and largely through the intercession of the former, she became a public figure, attracting people to her music and her advice (medical and societal). She wrote over 400 letters that have survived; she was clearly a prolific correspondent throughout her long life.
The texts on medicine that she wrote (or had written), Physica and Causae et Curae, were still consulted by physicians into the 15th century. They didn’t discover mistakes when they stopped consulting them, it’s just that they had learned a few things in 300 years.
There were three manuscripts illustrating the visions. It’s doubtful that these were done by Hildegard herself, but they were surely done under her watchful eye. Possible artists include the priest Volmar, her great friend Richardis, and any number of gifted and wealthy nuns or patrons. Sadly, one such manuscript was sent to Dresden for safekeeping during WWII, and like the rest of Dresden, was destroyed (or went missing). Luckily for posterity, there are black and white photocopies that survived, along with a full-color facsimile produced by the nuns at Eibingen in 1928. Without them, the text to Scivias might be missing or rather hard to reassemble from the remaining illustrations.
Hildegard had a biography of her own life written, although much of her early life is skipped over—30 years locked away with her cousin, and she barely comments on it! The work, which took several years to complete, was begun by her friend, the tutor and priest Volmar. After his death, it was continued by two monks from Trier, her cousin Wezelin, a monk named Gottfried, and finally, it was finished by Theodoric just after her death.
In her later years, Hildegard conducted preaching tours by boat and on foot, speaking to clergy and laymen, mostly against the Cathars, and urging reform from church officials. Women are STILL seldom invited to preach, so you can imagine how many feathers Hildegard’s invitations ruffled. It’s clear that she was invited, although her early sermons were probably offered at home in Bingen.
In what turned out to be the final year of her life, she suffered interdiction (which means that she was not allowed to take communion or sing) because she insisted that an excommunicated man had been reconciled to the church before death, and she refused to unbury him from consecrated grounds. The debate raged between religious leaders in Köln, Mainz, and the pope in Rome, and was finally resolved in her favor. It must have been a rough year, unable to make music, and all but excommunicated herself.
She died September 17, 1179 after a short illness. Witnesses insist that a ray of light emanated from her mouth as she breathed her last. Other stories say that two vast arcs illuminated the night and a red cross glowed beneath them, surrounded by cross-studded circles.
If reading non-fiction about Hildegard seems a bit much for you (some of it’s pretty heavy, I’ll admit), there are a few works of fiction that might interest you. I hope to add my own to the list shortly.
- “Illuminations,” by Mary Sharratt. Houghton Mifflin Harcourt Publishing Company, 2012 (ISBN: 978-0-547-56784-6). A lovely tale, focusing for the first half on the 30 years Hildegard spent in the anchorage—even Hildegard doesn’t write much about this—combining the darkness of the time with the gorgeous imagery that Hildegard both wrote and inspired. I also really enjoyed the development of the friendship with Richardis, another subject that biographers tiptoe around.
- “The Seer and the Scribe,” by G.M. Dyrek. Luminis Books, 2011 (ISBN-13: 978-1-935462-39-2). A clearly self-published novel (my opinion is based on historical and typographical errors) that turns the friendship of Hildegard with her scribe into a romance. The author clearly ran out of steam about three-quarters of the way through, rendering the last 75 pages not worth reading (although I did).
- “Scarlett Music: Hildegard of Bingen,” by Joan Ohanneson. Crossroad Publishing Company, 1997 (ISBN: 0-8245-1646-X). A quick view of Hildegard’s lifetime, rendering Hildegard lively and real, rather than the somewhat distant paragon that her list of accomplishments might otherwise make her seem. The imagery in this book is delightful.
- “The Journal of Hildegard of Bingen,” by Barbara Lachman. Bell Tower and Crown Publishers, 1993 (ISBN: 0-517-59169-3). A fictional account of a year in Hildegard’s life, focusing on the first year at the Rupertsberg Abbey.
Sources:
“A History of Western Music,” by J. Peter Burkholder, Donald Jay Grout, Claude V. Palisca, W.W. Norton & Company, New York, 2010
“Women & Music: A History,” by Karin Pendle, Indiana University Press, Bloomington, 2001
“Women Making Music: The Western Art Tradition, 1150-1950,” edited by Jane Bowers and Judith Tick, University of Illinois Press, Urbana, 1987
“The Encyclopedia of the Middle Ages,” edited by Norman F. Cantor, Viking, 1999
“Medieval Women Writers,” edited by Katharina M. Wilson, University of Georgia Press, Athens, 1984, article by Kent Kraft,
“The German Visionary: Hildegard of Bingen” “Uppity Women of Medieval Times,” by Vicki Leon, Conari Press, Berkeley, 1997
“Women in Music,” edited by Carol Neuls-Bates, Northeastern University Press, Boston, 1996 “Hildegard of Bingen,” by Regine Pernoud, Marlow & Company, New York, English translation 1998
“Hildegard of Bingen; A Visionary Life,” by Sabina Flanagan, Routledge, London, 1989
“Sister of Wisdom; St. Hildegard’s Theology of the Feminine,” by Barbara Newman, University of California Press, Berkeley, 1987
“Jutta & Hildegard: The Biographical Sources,” translated and introduced by Anna Silvas, Pennsylvania State University Press, University Park, 1998
“Hildegard of Bingen: The Woman of Her Age,” by Fiona Maddocks, Doubleday, New York, 2001
“Hildegard of Bingen: Scivias,” translated by Mother Columba Hart and Jane Bishop, introduced by Barbara J. Newman, Paulist Press, New York, 1990
You can find out more about me here: www.MelanieSpiller.com, and more essays like this and on other topics here: http://melaniespiller.com/lavender_004.htm