Composer

:

Hildegard von Bingen

Genre

:

Choral

Style

:

Antiphon

Compose Date

:

ca. 1140 - 1179

Average_duration

:

2:33

"Cum erubuerint" is a sacred vocal composition composed by Hildegard von Bingen, a German Benedictine abbess, writer, composer, and philosopher. The piece is part of her collection of liturgical chants known as the "Symphonia armonie celestium revelationum" (Symphony of the Harmony of Celestial Revelations), which she composed between 1151 and 1158. The premiere of "Cum erubuerint" is unknown, but it is believed to have been performed during religious services at the Rupertsberg Abbey, where Hildegard lived and worked. The piece is written in plainchant, a monophonic form of medieval liturgical music that features a single melody without any accompanying harmony. "Cum erubuerint" is divided into two movements, each with its own distinct characteristics. The first movement is a solo chant sung by a female voice, while the second movement is a duet between two female voices. The first movement begins with a simple melody sung in a low register, gradually building in intensity and complexity as the voice rises in pitch. The lyrics describe the shame and guilt felt by sinners, who are compared to a "withered tree" that has lost its leaves and fruit. The melody is characterized by its fluid, flowing lines and frequent use of melismatic ornamentation, in which multiple notes are sung on a single syllable. The second movement features a call-and-response structure, with one voice singing a phrase and the other voice responding with a different phrase. The lyrics describe the joy and redemption that comes from confessing one's sins and seeking forgiveness. The melody is characterized by its lively, dance-like rhythms and frequent use of syncopation, in which the emphasis is placed on off-beats rather than the downbeat. Overall, "Cum erubuerint" is a powerful and emotionally charged piece of music that reflects Hildegard's deep spiritual and philosophical beliefs. Its use of plainchant and intricate vocal ornamentation make it a prime example of medieval liturgical music, while its expressive melodies and poignant lyrics continue to resonate with audiences today.

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