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	The Origin of Fire: Music and Visions of Hildegard von Bingen Anonymous 4, Swiss Anonymous, ... Harmonia Mundi Fr., 2005 average customer review:based on 8 reviews view larger image
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highly recommended

Interview with Marsha Genensky of Anonymous 4
Anonymous 4's Marsha Genensky speaks about the ensemble's swan song in our special interview.

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Literary scholarship and musical prowess

At first, to be quite honest, this record did little for me: singing did not sound as enticing as in 11,000 Virgins, and there's very little music of Hildegard in it. Only 6 out of the 17 tracks have been set to music by her; opening and close hymns are not hers (neither text nor music), and Hildegard's visions (which make up most of the program) were set to music by A4, who borrowed recitation tones from different sources.
However, with A4, music is not the only factor to be taken into account. ORIGIN OF FIRE is primarily not a presentation of Hildegard's music, but of a specific aspect of her visions--this is why near half of the program is chanting: chanting is not all-the-way musical; it is first and foremost a form of recitation, i.e. of bringing a text to one's attention. The listener who really wants to enjoy this record needs to focus on liner notes and text as well. By the way, this record's liner notes are, as is always the case with A4, clear and comprehensive.

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A Wonderful CD

I own 13 A-4 discs and this is my second favorite, after On Yoolis Night. The recording sounds a little muddy and they do, uncharacteristically take some liberties with the material, but .... This was recorded in a real chapel (as were most of their later releases) and the extensive liner notes are, as usual, present. The presentation and delivery are among the best that A-4 have ever done. These 4 ladies each have wonderful voices that blend together magnificently. If you are an A-4 fan, you need to own this.


exquisite sound

If you want to be inspired (what a great word - receive the breath of life), then listen to this wonderful version of the music of Hildegard of Bingen, Germany's most amazing medieval woman. Her spiritual and musical gifts are unified on this c.d. It takes me right back to Eibingen, Germany, where her bones are laid to rest in the lovely village church, across the vineyards from the Abbey named in her honor.

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A good CD

Let's start out with some limitations:
1. If you're looking for an excellent translation and commentary on these works of St. Hildegard, you ought not buy this album (the booklet is generally unhelpful, and the translations are absurd).
2. If you are looking for a huge collection of St. Hildegard's music, you ought to think about buying the 11,000 Virgins album before this one.

BUT,
Anonymous 4 is definitely my favorite interpreter of the Hildegard texts. They take very little liberty with the musical notation for Hildegard's music, almost interpreting it with Solesmes-like conservativism. This lets the melody speak for itself. Moreover, they don't fool around with musical instruments that would have been forbidden from the monasteries of her time.
In this CD, Anonymous does some original and amazing work, interpreting not only the music of St. Hildegard, but also trying to bring the texts from her visionary works to life. If you can read and hear Latin, this is going to be a real treat--just don't bother with the translations in the book! They do original settings of Invitatory reciting tones and lection tones (the ones used in the Divine Office) to sing the texts, such as they might be sung if they were included in the Office of Matins. This gives the CD a quasi-liturgical style which, of course, matches with the lifestyle that St. Hildegard would have lived.

St Hildegard, pray for me!

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Great music; interesting group

The music of Hildegard Von Bingen is, without question, some of the most important we have from the Middle Ages. This album has a very capable set of performances by Anonymous 4, but the drawback is the very sameness of sound to each and every track. Yes, they sing well, but where is the variety of timbre? Where are the percussion instruments that have been used in other recordings and performances of these works? They could have used some help from some men's voices, too. Otherwise, it's perfectly recorded, but with repeat listenings becomes more trying.

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reviews: page 1, 2



Tracks
Et ego homo non calens, plainsong on a 4D reciting tone | Et audivi ex prefato vivente igne, texting of a 2-voice Consurge Christmas Matins lection tone | Vidi etiam quasi in mesio prefate, plainsong on a 4E reciting tone | Prima autem imago dicebat, texting of a Christmas Matins lection tone | Iterumque vocem de celo, plainsong | Et imago hec dicebat, texting of a 2-voice Una cunctis leticie Christmas Matins lection tone | In vera visione spiritus vigilans corpore, plainsong on a tone 2 invitatory formula | Et audivi vocem mihi dicentem, texting of a 2-voice Christmas Matins lection tone

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