In honor of the feast of Saint Hildegard tomorrow, and with gratitude to the San Diego Early Music Society (which covered the cost of the engraving), and to the illustrious Andrew Hinkley, who did the engraving, I would like to share with you all my edition of Hildegard's votive antiphon, O gloriosissimi lux vivens Angeli.

If anyone wonders why Hildegard is a patroness of musicians and a Doctor of the Church, this composition offers a glimpse into very deep and complex theological truths. And there is a lovely surprise at the very end of this composition, where the music (i.e. change of mode) indicates realities that go even beyond the text. A poor analogy in the more familiar world of Gregorian chant is the jubilus of the Alleluia Mass propers.

Her music isn't easy; this particular piece is three pages long, and stretches to almost two octaves, with 10 clef changes (!). I created this transcription with just two clef positions, though, so it is (hopefully) not quite as intimidating as it is in her manuscripts. O gloriosissimi lux vivens Angeli is one of two pieces she wrote for the angels; the other is the responsory, O vos Angeli.

There are 7 different theological themes for which she wrote a votive antiphon + responsory (and she relates in her writings that the melodies of all 14 of these compositions came to her directly through her visions). All of the 14 relate to the Commons, which ensured that there were plenty of opportunities for her community to use them throughout the year. I'm still not entirely sure what a "votive" antiphon is. There are no included differentiae, unlike her other antiphons. Perhaps they were sung at the conclusion of the day's Divine Office? (Anyone know?)

I also included my own interlinear translation. There is one part that still perplexes me: "divinos oculos". It is written in the accusative, but makes much more sense (at least to me) in the nominative case. This confusion is also mirrored in her language, "lux vivens", which is a term she uses for God. The angels are not God. We know this. Hildegard knew this. I conjecture in both these instances, Hildegard is alluding to the way the angels perfectly mirror the glory of God. In fact, they mirror it so well that we humans sometimes mistake angels for God himself.

There are lots and lots and LOTS of rabbit holes when it comes to Hildegard (which, honestly, makes her a wonderfully interesting patron saint for us musicians).

Enjoy, and happy Feast Day!