1a. O Euchari,in leta via ambulastiubi cum Filio Dei mansisti,illum tangendoet miracula eius que fecit videndo.1b. Tu eum perfecte amasticum sodales tui exterriti erant,pro eo quod homines erant,nec possibilitatem habebantbona perfecte intueri.2a. Tu autem in ardenti amoreplene caritatisillum amplexus es,cum manipulos preceptorum eiusad te collegisti.2b. O Euchari,valde beatus fuisticum Verbum Dei te in igne columbe imbuit,ubi tu quasi aurora illuminatus es,et sic fundamentum ecclesie edificasti.3a. Et in pectore tuochoruscat diesin quo tria tabernaculasupra marmoream columpnamstant in civitate Dei.3b. Per os tuum Ecclesia ruminatvetus et novum vinum,videlicet poculum sanctitatis.4a. Sed et in tua doctrinaEcclesia effecta est racionalis,ita quod supra montes clamavitut colles et ligna se declinarentac mamillas illius sugerent.4b. Nunc in tua clara voceFilium Dei ora pro hac turba,ne in cerimoniis Dei deficiat,sed ut vivens holocaustumante altare Dei fiat.
Sint Eucharius wordt vereerd als de eerste bisschop van Trier. Hij leefde in de tweede helft van de 3e eeuw.
Hildegard for me is a feminist icon whose contributions to the canon of universal spirituality & mysticism, are immeasurable. Her work transcends centuries & musical, religious/mystical genres. It awakened me to the ancient philosophy of “The Music of the Spheres”. That if the human body is made entirely of elements forged by stars, then indeed we are celestial bodies & the cosmos is within us. If the rotation of heavenly spheres produce tones & harmony, then they must resonate within us. Thus, music in its most sublime form, is our participation in the harmony of the universe. That we may bring some harmony to our souls in our longing to return to our celestial home.
At the height of the Middle Ages music for religious purposes was increasingly being composed by individuals, one of the most famous being the abbess, authoress, and mystic, St Hildegard of Bingen (1098-1179). She wrote a mystery play Ordo Virtutum (1158), a musical drama, one of the first ‘moralities’ ever written, depicting the fight for Anima (the Soul) between the Devil and 16 Virtues, including Caritas (alto) and Misericordia (soprano). Hildegard also composed many liturgical songs that were collected into a cycle called the Symphonia armoniae celestium revelationum. The songs from the Symphonia are set to Hildegard’s own texts and range from antiphons, hymns, and sequences, to responsories (e.g. ‘Columba aspexit’, ‘Ave generosa’, ‘O ignis spiritus’, ‘O Jerusalem’, ‘O Euchari’, ‘O viridissima virga’, ‘O Ecclesia’ ). Her music is monophonic, consisting of exactly one melodic line. Its style is characterized by soaring melodies that push the boundaries of the more staid ranges of traditional Gregorian chant, so that her music stands outside the normal practices of monophonic monastic chant. It both reflects 12th-century evolutions of chant and pushes those evolutions further in being highly melismatic, often with the recurrent melodic units. There is an intimate relationship between music and text in her compositions, whose rhetorical features are often more distinct than is common in contemporary chant. The reverence for the Virgin Mary reflected in her music shows how deeply influenced and inspired Hildegard and her community were: by the Virgin Mary and the Communion of Saints
Als ik ’s nachts in mijn tent naar de sterren kijken de kleine speldenprikjes zie in ’t firmamentwaardoor uw hemelse licht naar binnen schijnt,zindert mijn wereld van die verborgen krachten,van die allesomvattende bron van eeuwige licht –en zie mij hier als een blinde mijn weg aftasten …
Hein de Kikker
[Canon Eos 400D]
|Rechter foto panorama_2
[Canon Eos 400D]
|De ‘boksboom’ ’s winters – ingeknotte oerenergie…