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Hildegard von Bingen
Ensemble Belcanto
Dietburg Spohr
Ordo Virtutum

Ensemble Belcanto
Andrea Baader Sopran
Edith Murasov Mezzosopran
Rica Rauch Alt
Martina Scharstein Sopran
Dietburg Spohr Mezzosopran
Benjamin Cromme Sprechstimme
Lilith Reid Sprechstimme
Selina Drews Mädchensopran
 
1. Patriarchae Et Prophetae
2. Virtutes
3. Patriarchae Et Prophetae
4. Querela Animarum In Carne Positarum
5. Felix Anima
6. Virtutes
7. Felix Anima
8. Virtutes
9. Sed Gravata Anima Conqueritur
10. Virtutes Ad Animam Illam
11. Anima Illa
12. Scientia Dei Ad Animam Illam
13. Infelix Anima
14. Virtutes
15. Scientia Dei
16. Anima Illa
17. Strepitus Diaboli Ad Animam Illam
18. Virtutes
19. Diabolus
20. Humilitas
21. Virtutes
22. Humilitas
23. Virtutes
24. Humilitas
25. Caritas
26. Virtutes
27. Timor Dei
28. Virtutes
29. Diabolus
30. Virtutes
31. Obedientia
32. Virtutes
33. Fides
34. Virtutes
35. Spes
36. Virtutes
37. Castitas
38. Virtutes
39. Innocentia
40. Virtutes
41. Contemptus Mundi
42. Virtutes
43. Amor Caelestis
44. Virtutes
45. Disciplina
46. Virtutes
47. Verecundia
48. Virtutes
49. Misericordia
50. Virtutes
51. Victoria
52. Virtutes
53. Discretio
54. Virtutes
55. Patientia
56. Virtutes
57. Humilitas
58. Virtutes
59. Querela Animae Paenitentis Et Virtutes Invocantis
60. Virtutes
61. Anima Illa
62. Virtutes
63. Anima Illa
64. Virtutes
65. Paenitens Anima Ad Virtutes
66. Virtutes
67. Anima Illa
68. Humilitas
69. Virtutes
70. Humilitas
71. Virtutes
72. Diabolus
73. Paenitens Anima
74. Anima Illa
75. Humilitas Ad Victoriam
76. Victoria Ad Virtutes
77. Virtutes
78. Humilitas
79. Virtutes
80. Victoria
81. Virtutes
82. Castitas
83. Diabolus
84. Castitas
85. Virtutes
86. Virtutes
87. Epilog

Recorded October 2010

ECM New Series 2219
 
Background

Order CD

This is the second New Series album to feature the Ensemble Belcanto. Where its predecessor focused on contemporary composition, this new disc looks at Hildegard of Bingen’s Ordo Virtutum, written around 1150 and generally considered the first large-scale musical work beyond the prescribed form of the Mass liturgy. In her creative interpretation, Belcanto leader Dietburg Spohr waives claims to ‘objective’ historical literalness. Instead, she and her fellow singers encounter the work as if it were written specifically for the Ensemble Belcanto: “We sought to free Hildegard from mystical-esoteric associations and to emphasize the work of an emancipated woman and composer.”