anima mea - naxos music library · magnificat anima mea dominum(my soul doth magnify the lord) ! is...

ANIMA MEASacred Music of the Middle Ages

Ensemble Cosmedin

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ANIMA MEA(My Soul)

1 Anon.: Adorna Thalamum [Erfurt, 1301] 3:02Sung Text: St Luke 2, 25-32

2 Anon.: Credo, quod Redemptor meus vivit [St. Gallen, after 1000] 4:32Sung Text: Job 19, 25-27

3 Christoph Haas: Salutatio Beatae Mariae Virginis 1:37Sung Text: Saint Francis of Assisi (1181/82-1226)

4 Anon.: Qui habitat in adiutorio altissimi [St. Gallen, after 880] 13:03Sung Text: Psalm 91

5 Anon.: Christe qui lux es et dies [Milan, before 534] 5:52Sung Text: Anonymous

6 Anon.: Sicut cervus [St. Gallen, after 880] 4:05Sung Text: Psalm 42

7 Hildegard of Bingen (1098-1179): O viriditas digiti Dei 6:08Sung Text: Hildegard von Bingen

8 Anon.: Immutemur habitu [Erfurt, 1301] 2:47Sung Text: Joel 2,13

9 Anon.: Per tuam crucem. Miserere [Paris, after 1150] 4:16Sung Text: Anonymous

0 Anon.: Per tuam crucem. Miserere [Notre Dame, after 1200] 11:57Sung Text: Anonymous

! Anon.: Magnificat [Regensburg, after 1250] 3:35Sung Text: St Luke 1, 46-55

@ Anon.: Exaudi nos, Domine [Erfurt, 1301] 3:44Sung Text: Psalm 69

Arrangements, adaptation and instrumentation by Christoph Haas

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Through thy crossThrough thy cross save us, O Christ, Redeemer, who by dying hast destroyed our death. And by rising hast restored life. Have mercy upon us, kind Jesu, who suffered in clemency for us. Glory be to the Father and to the Son and to the Holy Spirit.

My soul doth magnify the LordMy soul doth magnify the Lord, and my spirit hath rejoiced in God my saviour. For he hath regarded the lowliness of his handmaiden: for behold from henceforth all people

shall call me blessed. For he that is mighty hath magnified me, and holy is his name. And his mercy is on them that fear him

throughout all generations.

He hath shewed strength with his arm, he hath scattered the proud in the imagination of their hearts.He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things, and the rich he hath sent empty away. He, remembering his mercy, hath holpen his servant Israel, as he promised to our forefathers, Abraham and his seed for ever. Glory be to the Father, and to the Son, and to the Holy Ghost.As it was in the beginning, is now, and ever shall be, world without end, Amen.

Hear us, O LordHear us, O Lord, for thy mercy is kind: according to themultitude of thy mercies look upon us. Save me, O God, for the waters have entered even

unto my soul.

English translations: Patricia Kilcoyne

“Anima symphonizans est” writes Hildegard of Bingen(1098-1179): the soul is tuned harmonically, since it hasits origin in the music of the spheres. It is orientatedtowards harmony. “All things that stand in Godʼs ordercorrespond with one another.” (Liber vitae meritorum).Music is an expression of the most exalted harmony, for itarises directly from the human soul. It is the most beautifulkind of worship, the lingering echo of paradise, the pre-echo of becoming united, the melody of life-bringinggreenness, O viriditas digiti Dei (O greenness of the fingerof God 7).

The mystic Master Eckhart (c. 1260-c. 1328)approaches the concept of the soul in ever new images –and yet he knows that the soul is essentially ineffable.“Love alone draws the soul into the world” (Sermon 17).The antiphons Adorna thalamum (Adorn thy chamber,Sion) 1, Immutemur habitu (We shall go in sack-cloth) 8and Exaudi nos, Domine (Hear us, O Lord) @ originatefrom the Erfurt Ritual. The manuscript, dated 1301,contains sung music from Master Eckhartʼs historicalcontext. Master Eckhart himself entered the Dominicanorder in Erfurt in 1275, where he later became prior. Afterthe Reformation the manuscript fell into oblivion and hasonly recently been rediscovered. The antiphons from theErfurt Ritual (today in the possession of the “Prediger”Church in Erfurt) are performed here by EnsembleCosmedin for the first time since their rediscovery.“Musically speaking, this is the closest one can get toMeister Eckhart” (Stefan Hoffmann, SWR2).

The tract is the oldest form of psalmodic solo chant inthe liturgy of the Roman Mass. Qui habitat in adiutorioaltissimi (Whoso dwelleth under the defence of the mostHigh) 4 and Sicut cervus (Like as the hart) 6 hark backmelodically to their origins in the solo singing of cantors ineastern synagogues. For the theologian RomanoGuardini, Psalm 91 is one of the most impressive. Whenthe listener enters this psalm “a space opens up for him inwhich a quiet presence makes itself felt, full of power andgoodness. He is taken by the hand and taught how he

may achieve harmony with this benevolent power. If heresponds to it, he will be safe. (The Wisdom of thePsalms, Mainz 1987, p. 251)

The early Christian hymn, Christe qui lux es et dies(Christ, that art light and day) 5 was first documented inMilan (before 534). It starts with an exploratorymovement, seeking the way from darkness towards thelight. The voice blends into the sound of the bells throughthe vowels of the Latin text. The tonal colours shine fromwithin.

The two-part organa of the Notre Dame Schoolrepresent a highlight of sacred music in the Middle Ages.Léoninus (around 1180) and Perotinus (around 1220)slowed down the original choral melody 9 to an extremedegree and used it as the foundation for the highly-virtuoso solo voice. The rhythmically incisive passagesintroduced for the first time pulsating rhythms in Gregorianchant 0.

Magnificat anima mea Dominum (My soul dothmagnify the Lord) ! is Maryʼs hymn of praise after theproclamation of the birth of Jesus (Luke 1, 46-55). Maryexperiences a condition of exalted joy, deep emotion andhumility. Her soul soars. She sings. The Magnificat is themost famous canticle of the Latin liturgy. We have chosena version in the sixth psalm tone, which was documentedin 1250 in the monastery of St Emmeran in Regensburg.In our interpretation, the vibrations of the human voicecause the tubular bells to resonate softly in response. TheCanticum Beatae Mariae Virginis corresponds in contentto Salutatio Beatae Mariae Virginis 3, the song of praiseby St Francis of Assisi (1182-1226).

Instruments in early Christian sacred music

The songs of early Christian communities were oftenaccompanied by instruments – in spite of the disapprovalof the clerics, who regarded this practice as a profanationof sacred music. Repeated decrees by Councils againstthe use of instruments in church made it apparent how

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Through thy crossThrough thy cross save us, O Christ, Redeemer, who by dying hast destroyed our death. And by rising hast restored life. Have mercy upon us, kind Jesu, who suffered in clemency for us. Glory be to the Father and to the Son and to the Holy Spirit.

My soul doth magnify the LordMy soul doth magnify the Lord, and my spirit hath rejoiced in God my saviour. For he hath regarded the lowliness of his handmaiden: for behold from henceforth all people

shall call me blessed. For he that is mighty hath magnified me, and holy is his name. And his mercy is on them that fear him

throughout all generations.

He hath shewed strength with his arm, he hath scattered the proud in the imagination of their hearts.He hath put down the mighty from their seat, and hath exalted the humble and meek. He hath filled the hungry with good things, and the rich he hath sent empty away. He, remembering his mercy, hath holpen his servant Israel, as he promised to our forefathers, Abraham and his seed for ever. Glory be to the Father, and to the Son, and to the Holy Ghost.As it was in the beginning, is now, and ever shall be, world without end, Amen.

Hear us, O LordHear us, O Lord, for thy mercy is kind: according to themultitude of thy mercies look upon us. Save me, O God, for the waters have entered even

unto my soul.

English translations: Patricia Kilcoyne

“Anima symphonizans est” writes Hildegard of Bingen(1098-1179): the soul is tuned harmonically, since it hasits origin in the music of the spheres. It is orientatedtowards harmony. “All things that stand in Godʼs ordercorrespond with one another.” (Liber vitae meritorum).Music is an expression of the most exalted harmony, for itarises directly from the human soul. It is the most beautifulkind of worship, the lingering echo of paradise, the pre-echo of becoming united, the melody of life-bringinggreenness, O viriditas digiti Dei (O greenness of the fingerof God 7).

The mystic Master Eckhart (c. 1260-c. 1328)approaches the concept of the soul in ever new images –and yet he knows that the soul is essentially ineffable.“Love alone draws the soul into the world” (Sermon 17).The antiphons Adorna thalamum (Adorn thy chamber,Sion) 1, Immutemur habitu (We shall go in sack-cloth) 8and Exaudi nos, Domine (Hear us, O Lord) @ originatefrom the Erfurt Ritual. The manuscript, dated 1301,contains sung music from Master Eckhartʼs historicalcontext. Master Eckhart himself entered the Dominicanorder in Erfurt in 1275, where he later became prior. Afterthe Reformation the manuscript fell into oblivion and hasonly recently been rediscovered. The antiphons from theErfurt Ritual (today in the possession of the “Prediger”Church in Erfurt) are performed here by EnsembleCosmedin for the first time since their rediscovery.“Musically speaking, this is the closest one can get toMeister Eckhart” (Stefan Hoffmann, SWR2).

The tract is the oldest form of psalmodic solo chant inthe liturgy of the Roman Mass. Qui habitat in adiutorioaltissimi (Whoso dwelleth under the defence of the mostHigh) 4 and Sicut cervus (Like as the hart) 6 hark backmelodically to their origins in the solo singing of cantors ineastern synagogues. For the theologian RomanoGuardini, Psalm 91 is one of the most impressive. Whenthe listener enters this psalm “a space opens up for him inwhich a quiet presence makes itself felt, full of power andgoodness. He is taken by the hand and taught how he

may achieve harmony with this benevolent power. If heresponds to it, he will be safe. (The Wisdom of thePsalms, Mainz 1987, p. 251)

The early Christian hymn, Christe qui lux es et dies(Christ, that art light and day) 5 was first documented inMilan (before 534). It starts with an exploratorymovement, seeking the way from darkness towards thelight. The voice blends into the sound of the bells throughthe vowels of the Latin text. The tonal colours shine fromwithin.

The two-part organa of the Notre Dame Schoolrepresent a highlight of sacred music in the Middle Ages.Léoninus (around 1180) and Perotinus (around 1220)slowed down the original choral melody 9 to an extremedegree and used it as the foundation for the highly-virtuoso solo voice. The rhythmically incisive passagesintroduced for the first time pulsating rhythms in Gregorianchant 0.

Magnificat anima mea Dominum (My soul dothmagnify the Lord) ! is Maryʼs hymn of praise after theproclamation of the birth of Jesus (Luke 1, 46-55). Maryexperiences a condition of exalted joy, deep emotion andhumility. Her soul soars. She sings. The Magnificat is themost famous canticle of the Latin liturgy. We have chosena version in the sixth psalm tone, which was documentedin 1250 in the monastery of St Emmeran in Regensburg.In our interpretation, the vibrations of the human voicecause the tubular bells to resonate softly in response. TheCanticum Beatae Mariae Virginis corresponds in contentto Salutatio Beatae Mariae Virginis 3, the song of praiseby St Francis of Assisi (1182-1226).

Instruments in early Christian sacred music

The songs of early Christian communities were oftenaccompanied by instruments – in spite of the disapprovalof the clerics, who regarded this practice as a profanationof sacred music. Repeated decrees by Councils againstthe use of instruments in church made it apparent how

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9 & 0 Per tuam crucemPer tuam crucem salva nos, Christe, redemptor, qui mortem nostram moriendo destruxisti. Et vitam resurgendo reparasti. Miserere nostri, Ihesu benigne, qui passus es clementer pro nobis. Gloria Patri et Filio et Spiritui Sancto.

! Magnificat anima mea Dominum,Magnificat anima mea Dominum,Et exsultavit spiritus meus in Deo salutari meo. Quia respexit humilitatem ancillae suae, ecce enim ex hoc beatam me dicent

omnes generationes. Quia fecit mihi magna, qui potens est, et sanctum nomen eius. Et misericordia eius a progenie in progenies

timentibus eum.

Fecit potentiam in brachio suo, dispersit superbos mente cordis sui. Deposuit potentes de sede et exaltavit humiles. Esurientes implevit bonis et divites dimisit inanes. Suscepit Israel puerum suum, recordatus misericordiae suae. Sicut locutus est ad patres nostros, Abraham et semini eius in saecula. Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper et in saecula saeculorum. Amen. (St Luke 1, 46-55)

@ Exaudi nos, DomineExaudi nos, Domine, quoniam benigna est misericordia tua: secundum multitudinem miserationum tuarum respice nos. Salvum me fac Deus quoniam intraverunt aquae usque

ad animam meam. (Psalm 69)

Durch dein KreuzDurch dein Kreuz rette uns Christus, du Erlöser. Durchdein Sterben hast du unseren Tod überwunden, wiederauferstehend hast du das Leben wiedergewonnen.Erbarme dich unser, gütiger Jesus, der du sanftmütig hinübergegangen bist für uns. Ehre sei dem Vater und dem Sohn und dem Heiligen Geist.

Meine Seele erhebt den HerrnMeine Seele erhebt den Herrn Und mein Geist freut sich Gottes, meines Heilands Denn er hat die Niedrigkeit seiner Magd angesehen Siehe, von nun an werden mich selig preisen

alle Kindeskinder Denn er hat große Dinge an mir getan Der da mächtig ist und dessen Name heilig ist Und seine Barmherzigkeit währt von Geschlecht

zu Geschlecht Bei denen, die ihn fürchten

Er übt Gewalt mit seinem Arm Und zerstreut, die hoffärtig sind in ihres Herzens Sinn Er stößt die Gewaltigen vom Thron Und erhebt die Niedrigen Die Hungrigen füllt er mit Gütern Und läßt die Reichen leer ausgehen Er gedenkt der Barmherzigkeit Und hilft seinem Diener Israel auf Wie er geredet hat zu unsern Vätern Abraham und seinem Samen in Ewigkeit Ehre sei dem Vater und dem Sohn und dem Heiligen Geist,wie es war im Anfang und jetzt und immerund von Ewigkeit zu Ewigkeit. Amen.

Erhöre uns, HerrErhöre uns, Herr in deiner Barmherzigkeit, denn groß ist deine Güte. Sieh auf uns. Mach mich heil, Gott; denn die Wasser steigen mir

bis zur Seele.

German translations: Stephanie Haas, except Lux et Dies(Dr Barbara Stühlmeyer), Magnificat (Martin Luther)

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stubbornly communities opposed this ban. The traditionsof Mediterranean musical culture lived on in the playing ofthe kithara and of other string instruments in the housechurches of the early Christians and they were, and stillare, influenced by the bourdon principle. Unlike hercontemporaries, Hildegard of Bingen argued in favour ofthe use of musical instruments in the praise of God,referring expressly to the harp-player David (Scivias, 13.Vision of Part III, No. 16).

The musical instruments used in this recording

The psaltery and the long-necked lute were developed inthe early high cultures of Mesopotamia and Persia.Bowed string instruments arrived in Europe in theeleventh century from central Asia via Byzantium andNorth Africa. Bells too had their origins in Asia. EmperorConstantine’s mother, Helena, is said to have broughtbells from Byzantium to Rome.

Stephanie and Christoph Haas

English translation by David Stevens and Patricia Kilcoyne

Stephanie Haas

Stephanie Haas studied at the Staatlichen Hochschule für Musik und Darstellende Kunst in Stuttgart and with HelmutLachenmann. As a singer she is in frequent collaboration with contemporary composers and has given a number of firstperformances, including From the Visions of Hildegard of Bingen by Sofia Gubaidulina. From this the way led to musicof the Middle Ages. Her vocal technique and attention to the text make Stephanie Haas one of the leading interpretersof medieval sacred music.

Christoph Haas

Christoph Haas grew up with European classical music and was a chorister in the Stuttgarter Hymnuschor. He studiedextensively in West Africa, Latin America and South India. Using traditional and innovative techniques, he leads theway into a sound world of unimagined dimensions, evoking in the listener a state of relaxed calmness, coupled withheightened attention. His compositions and arrangements form a bridge between old and new music, East and West.

Ensemble Cosmedin

Stephanie and Christoph Haas established the Ensemble Cosmedin in 1998, and it is today considered one of theleading ensembles for medieval and modern sacred music. The ensemble has appeared in the cathedrals of Chartres,Vézelay, Chur, Cologne, Mainz and Trier, in the Aachen Electoral Chapel, St Michaelʼs in Hildesheim, Ulm, Berne, Milan,Lugano, Strasbourg, Paris and Berlin. It has a number of recordings and television and radio features to its credit. Thename of the ensemble is taken from a church in Rome, Santa Maria in Cosmedin, founded by Orthodox monks who tookrefuge in Rome after the iconoclastic dispute in Constantinople. They built near the Tiber a church ornamented with themost costly mosaics, soon known as Kosmidion (ornate). In Roman dialect this developed into Santa Maria in Cosmedin.

Contact: Ensemble Cosmedin c/o Stephanie & Christoph Haas, Bönnigheimer Str. 27, 70435 Stuttgart; Fon: 0049-711-871664, Fax: 0049-711-8701841, [email protected], www.ensemble-cosmedin.de


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to keep thee in all thy ways. They shall bear thee in their hands that thou hurt not thy foot against a stone. Thou shalt go upon the lion and the adder, the young lion and the dragon shalt thou tread under thy feet.Because he hath set his love upon me,

therefore I will deliver him: I will set him up, because he hath known my Name. He shall call upon me, and I will hear him. Yea, I am with him in trouble, I will deliver him and bring him to honour. With long life will I satisfy him, and shew him my salvation.

Christ, that art light and dayChrist, that art light and day.Thou layest bare the darkness of nightand entrustest us with the light of the light,foretelling blessed light.

Like as the hartLike as the hart desireth the water-brooks, so longeth my soul after thee, O God. My soul is a thirst for God, yea, even for the living God. When shall I come to appear before the presence of God? My tears have been my meat day and night, while they daily say unto me, Where now is thy God?

O greenness of the finger of GodO greenness of the finger of God, in which God has made a garden, that shines on high as a glorious column

prepared by God.And thou mountainʼs height, that shall never be laid low in Godʼs judgement, yet thou standest from afar as an exile, but it is not in the power of an armed man to seize hold of you.Glory be to the Father, and to the Son and to the Holy Spirit.

We shall go in sack-clothWe shall go in sack-cloth and ashes, fasting and mourning before the Lord: for our God is merciful and dismisses our sins.

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Anima meaSakrale Musik des Mittelalters„Anima symphonizans est“ schreibt Hildegard von Bingen(1098-1179): Die Seele ist harmonisch gestimmt, da sie derhimmlischen Harmonie entstammt. Sie ist ausgerichtet aufZusammenklang. „Alles nämlich, was in der Ordnung Gottessteht, antwortet einander“ (Liber vitae meritorum). Musik istAusdruck höchster Harmonie, denn sie entspringt unmittelbarder menschlichen Seele. Sie ist die schönste Art desLobpreises, Nachklang des Paradieses, Vorklang auf dasEinswerden, Melodie der Leben spendenden Grünkraft„viriditas“ 7.

In immer neuen Begriffen umkreist der Mystiker MeisterEckhart (ca. 1260-ca. 1328) den Begriff der Seele – und weißdoch: in ihrem Grund ist die Seele unaussprechlich. „Nichtszieht die Seele in die Welt hinein als einzig die Liebe. (Predigt17). Die Antiphone Adorna Thalamum 1, Immutemur habitu8 und Exaudi nos domine @ entstammen dem ErfurterRituale. Das Manuskript entstand 1301. Es enthält Gesängeaus dem Umfeld Meister Eckharts, der um 1275 in Erfurt inden Dominikanerorden eintrat und später dort als Prior wirkte.Nach der Reformation geriet die Handschrift in Vergessenheitund wurde erst vor kurzem wiederentdeckt. Die Antiphoneaus dem Erfurter Rituale (heute im Besitz derPredigergemeinde Erfurt) werden vom Ensemble Cosmedinerstmalig seit der Wiederentdeckung aufgeführt: “Näher kannman Meister Eckart musikalisch nicht kommen” (StefanHoffmann, SWR 2).

Tractus ist der älteste psalmodische Sologesang derrömischen Messliturgie. Qui habitat in adiutorio altissimi 4

und Sicut cervus 6 verweisen melodisch auf ihre Herkunftaus dem solistischem Kantorengesang der orientalischenSynagoge. Charakteristisch sind die Melismen an denPhrasenenden. Der Psalm 90 ist für den Theologen RomanoGuardini einer der schönsten. Tritt der Hörer in diesen Psalmein, “dann öffnet sich ihm ein Raum, und darin wird eine stilleGegenwart fühlbar, die ganz Macht ist und ganz Güte. Er wirdan die Hand genommen und gelehrt, wie er mit der gütigenMacht in ein Einvernehmen kommen könne; und geht er mit,dann ist er geborgen.” (Weisheit der Psalmen, Mainz 1987, S.251)

Der frühchristliche Hymnus Christe qui lux es et dies 5

wird erstmals in Mailand (vor 534) dokumentiert. Der Beginnzeichnet gleichsam eine Suchbewegung, die aus dem Dunkelins Licht führt. Die Singstimme fügt sich in den Klang derGlocken ein mit den Vokalen des lateinischen Textes. Inihnen leuchten die Klangfarben als Obertöne.

Die zweistimmigen Liegeton-Organa der Notre-Dame-Schule gelten als Höhepunkt mittelalterlicher Sakralmusik.Die ursprüngliche Choralmelodie 9 wird bei denKomponisten Magister Leoninus (um 1180) und Perotinus(um 1220) extrem verlangsamt und bildet die Basis für diehochvirtuose Solostimme. Mit den rhythmisch prägnantenPassagen, die zu Perotins Zeiten eingearbeitet wurden, triffterstmals pulsierende Rhythmik auf die fließende Rhythmikder Gregorianik 0.

„Magnificat anima mea Dominum“ ! ist der LobgesangMarias nach der Ankündigung der Geburt Jesu (Lukas 1, 46-55). Maria erlebt einen Zustand überschwänglicher Freude,innerster Berührtheit und Demut. Ihre Seele schwebt. Siesingt. Das Magnificat ist das berühmteste Canticum derlateinischen Messe. Wir haben uns für eine Version im 6.Psalmton entschieden, die um 1250 im Kloster St. EmmeranRegensburg aufgezeichnet wurde. In unserer Interpretationversetzen die Schwingungen der menschlichen Stimme dieGlocken in Bewegung. Sie antworten leise. Das CanticumBeatae Mariae Virginis korrespondiert inhaltlich mit demPreisgesang Salutatio Beatae Mariae Virginis 3 desFrancesco dʼAssisi (1182 - 1226).

Instrumente in früher christlicher Sakralmusik

Die Gesänge der frühen Gemeinden wurden von denGläubigen häufig mit Instrumenten begleitet - trotz desVerdikts der Kirchenväter, die darin eine Profanisierungsakraler Musik sahen. Wiederholte Konzilsbeschlüsse gegendie Verwendung von Instrumenten in der Kirche machensichtbar, wie hartnäckig der Widerstand in den Gemeindengegen dieses Verbot war. Im Spiel der Kithara und andererSaiteninstrumente in den Hauskirchen der frühen Christen


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ut custodiant te in omnibus viis tuis. In manibus portabunt te, ne unquam offendas ad lapidem pedem tuum. Super aspidem et basiliscum ambulabis, et conculcabisleonem et draconem. Quoniam in me speravit,

liberabo eum: protegam eum, quoniam cognovit nomen meum. Invocabit me,et ego exaudiam eum: cum ipso sum in tribulatione. Eripiam eum, et glorificabo eum: longitudine dierum adimplebo eum, et ostendam illi salutare meum. (Psalm 91)

5 Christe qui lux es et diesChriste qui lux es et dies Noctis tenebras detegis Lucisque lumen crederis Lumen beatum predicans.

6 Sicut cervusSicut cervus desiderat ad fontes aquarum: ita desiderat anima mea ad te, Deus. Sitivit anima mea ad deum vivum: quando veniam, et apparebo ante faciem Die mei? Fuerunt mihi lacrimae meae panes die ac nocte, dum dicitur mihi per singulos dies: Ubi est Deus tuus? (Psalm 42)

7 O viriditas digiti DeiO viriditas digiti Dei in qua Deus constituit plantationem,que in excelso resplendet ut statuta columna tu gloriosa in preparatione Dei.Et o altitudo montis, que numquam dissipaberis in discretione Dei,tu tamen stas a longe ut exul, sed non est in potestate armati, qui te rapiat.Gloria Patri et Filio et Spiritui Sancto.(Hildegard von Bingen)

8 Immutemur habitu Immutemur habitu in cinere et cilicio ieiunemus et ploremus ante Dominum: quia multum misericors est dimittere peccata nostra, Deus noster. (Joel 2,13)

dass sie dich behüten auf allen deinen Wegen,dass sie dich auf den Händen tragenund du deinen Fuß nicht an einen Stein stoßest.Über Löwen und den Basilisken der Hochmut wirst dugehen und junge Löwen und Drachen niedertreten."Er liebt mich,

darum will ich ihn erretten;er kennt meinen Namen, darum will ich ihn schützen.Er ruft mich an, darum will ich ihn erhören;ich bin bei ihm in der Not,ich will ihn herausreißen und zu Ehren bringen.Ich will ihn sättigen mit langem Lebenund will ihm zeigen mein Heil."

Christus, du bist Licht und TagChristus, du bist Licht und Tag, die Nacht enthüllst du der Schatten und vertraust uns das Licht des Lichtes an, das Licht, das wahrhaft glücklich macht.

Sicut cervusWie der Hirsch lechzt nach frischem Wasser,so schreit meine Seele, Gott, zu dir.Meine Seele dürstet nach Gott, nach dem lebendigen Gott.Wann werde ich dahin kommen,dass ich Gottes Angesicht schaue?Meine Tränen sind meine Speise Tag und Nacht,weil man täglich zu mir sagt: Wo ist nun dein Gott?

O grünende LebenskraftO grünende Lebenskraft aus Gottes Hand, in dir hat Gott einen Garten gepflanzt.Du spiegelst des Himmels Leuchten wie eine hoch

ragende Säule. Ruhmgekrönt bist du, da Gott aus dir wirkt. Wie ein hoher Berg ragst du einsam empor in der Ferne. Niemals wirst du wanken unter Gottes Prüfung, keine bewaffnete Macht kann dich je ergreifen.Ehre sei dem Vater und dem Sohn und dem Heiligen Geist.

Wir werden in SackWir werden in Sack und Asche gehen. Wir werden fasten und klagend vor Gott treten. Denn er ist gnädig, barmherzig, geduldig und von großer Güte.

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lebten die Traditionen mediterraner Musikkultur weiter, diedurch das Bordun-Prinzip geprägt waren und sind. Hildegardvon Bingen plädierte für den Einsatz von Musikinstrumentenbeim Gotteslob - im Gegensatz zu ihren Zeitgenossen. Siebezog sich dabei (Scivias, 13. Vision des 3 Teils, Nr. 16)ausdrücklich auf den Harfenspieler David.

Die Musikinstrumente dieser Aufnahme

Psalter und Langhalslaute entwickelten sich in den frühenHochkulturen Mesopotamiens und Persiens. Die Fidel kamim 11. Jahrhundert aus Zentralasien über Byzanz und

Nordafrika nach Europa. Auch Glocken entstanden in Asien.Auf Initiative von Kaiser Konstantins Mutter Helena gelangtensie über Byzanz nach Rom. Die Ziertürmchen der Thorarollenund die Gewänder der jüdischen Hohepriester waren mitGlöckchen geschmückt, ebenso die liturgischen Gewänderder ersten Päpste. Seit 1400 Jahren sind Glocken in Klösterndes deutschen Sprachraums nachweisbar, wo sie sowohl inChoral-Begleitung und Liturgie als auch im Musik-Unterrichtdes Quadrivium verwendet wurden.

Stephanie und Christoph Haas

Photo: Rose Hajdu


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1 Adorna thalamumAdorna thalamum tuum, Syon, et suscipe regem Christum: amplectere Mariam, quae est caelestis porta, ipsa enim portat regem gloriae novi luminis, subsistit virgo adducens manibus filium ante luciferum, quem accipiens Symeon in ulnas suas praedicavit populis dominum deum esse vitae et mortis,et salvatorem mundi.(St Luke 2, 25-32)

2 Credo, quod Redemptor meus vivit Credo, quod Redemptor meus vivit et in novissimo die de terra surrecturus sum et in carne mea videbo Deum salvatorem meum. Quem visurus sum: ego ipse, et non alius, et oculi mei conspecturi sunt. (Job 19, 25-27)

3 Salutatio Beatae Mariae Virginis Ave Domina, sancta Regina, sancta Dei genetrix Maria,Ave palatium eius Ave tabernaculum eius Ave domus eius Ave vestimentum eius Ave ancilla eius Ave mater eius(Saint Francis of Assisi)

4 Qui habitat in adiutorio AltissimiQui habitat in adiutorio Altissimi, in protectione Dei caeli commorabitur. Dicet Domino: Susceptor meus es, et refugium meum, Deus meus: sperabo in eum. Quoniam ipse liberavit me de laqueo venantium, et a verbo aspero. Scapulis suis obumbrabit tibi, et sub pennis eius sperabis. Scuto circumdabit te veritas eius: non timebis a timore nocturno. A sagitta volante per diem, a negotio perambulante in tenebris, a ruina et daemonio meridiano.

Cadent a latere tuo mille, et decem millia a dextris tuis: tibi autem non appropinquabit. Quoniam Angelis suis mandavit de te,

Schmücke dein Gemach, ZionSchmücke dein Gemach, Zion, und erkenne Christus den König:preise hoch Maria, die himmlische Pforte,sie bringt den ruhmreichen König des neuen Lichtes.Sie trägt den Sohn, den Lichtbringer,den Simeon, ihn im Arm haltend, dem Volk verkündigt als den Herrn des Lebens und des Todesund als den Retter der Welt.

Ich vertraue, dass mein Erlöser lebtIch vertraue, dass mein Erlöser lebt.Am jüngsten Tag der Erde werde ich auferstehen und ich werde ihn, meinen Retter sehen.Ich selbst, und nicht ein anderer.Meine Augen werden ihn schauen.

Gruß an die heilige Jungfrau MariaSei gegrüßt, hohe Frau, heilige Königin, heilige Gottesmutter Maria,Sei gegrüßt, du sein Palast.Sei gegrüßt, du sein Zelt.Sei gegrüßt, du seine Wohnung.Sei gegrüßt, du sein Gewand.Sei gegrüßt, du seine Magd.Sei gegrüßt, du seine Mutter.

Wer unter dem Schirm des Höchsten sitzt Wer unter dem Schirm des Höchsten sitzt und unter dem Schatten des Allmächtigen bleibt,der spricht zu dem Herrn:Meine Zuversicht und meine Burg,mein Gott, auf den ich hoffe.Denn er errettet dich vom Strick des Jägersund von der verderblichen Pest.Er wird dich mit seinen Fittichen decken,und Zuflucht wirst du haben unter seinen Flügeln.Seine Wahrheit ist Schirm und Schild,dass du nicht erschrecken musst vor dem Grauen der Nacht,vor den Pfeilen, die des Tages fliegen,vor der Pest, die im Finstern schleicht,vor der Seuche, die am Mittag Verderben bringt.

Wenn auch tausend fallen zu deiner Seiteund zehntausend zu deiner Rechten,so wird es doch dich nicht treffen.Denn er hat seine Engel gesandt,

Adorn thy chamber, SionAdorn thy chamber, Sion,and receive Christ the King:encompass Mary, who is the gate of heaven,for she bears the king of glory of the new light.The virgin stands bringing in her arms her sonbefore the bringer of light, whom Simeon, receiving himinto his arms, foretold to the peoplethat he would be the Lord God of life and death,and saviour of the world.

I know that my Redeemer livethFor I know that my redeemer liveth, and in the last day I shall rise again from the earth and in my flesh I shall see God my saviour. Whom I shall see for myself and my eyes shall behold.

Salutation of the Blessed Virgin MaryHail Lady, holy Queen, holy Mary, mother of God, Hail, his palace, Hail, his tabernacle, Hail, his house, Hail, his clothing, Hail, his handmaid, Hail, his mother.

Whoso dwelleth under the defence of the most HighWhoso dwelleth under the defence of the most High shall abide under the shadow of the Almighty. I will say unto the Lord, thou art my hope, and my stronghold: my God, in him will I trust. For he shall deliver thee from the snare of the hunter, and from the noisome pestilence. He shall defend thee under his wings, and thou shalt be safe under his feathers: his faithfulness and truth shall be thy shield and buckler. Thou shalt not be afraid for any terror by night, nor for the arrow that flieth by day, for the pestilence that walketh in darkness, nor for the sickness that destroyeth in the noon-day.

A thousand shall fall beside thee, and ten thousand at thy right hand, but it shall not come nigh thee. For he shall give his angels charge over thee



Ensemble Cosmedin

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ANIMA MEA(My Soul)

1 Anon.: Adorna Thalamum [Erfurt, 1301] 3:02Sung Text: St Luke 2, 25-32

2 Anon.: Credo, quod Redemptor meus vivit [St. Gallen, after 1000] 4:32Sung Text: Job 19, 25-27

3 Christoph Haas: Salutatio Beatae Mariae Virginis 1:37Sung Text: Saint Francis of Assisi (1181/82-1226)

4 Anon.: Qui habitat in adiutorio altissimi [St. Gallen, after 880] 13:03Sung Text: Psalm 91

5 Anon.: Christe qui lux es et dies [Milan, before 534] 5:52Sung Text: Anonymous

6 Anon.: Sicut cervus [St. Gallen, after 880] 4:05Sung Text: Psalm 42

7 Hildegard of Bingen (1098-1179): O viriditas digiti Dei 6:08Sung Text: Hildegard von Bingen

8 Anon.: Immutemur habitu [Erfurt, 1301] 2:47Sung Text: Joel 2,13

9 Anon.: Per tuam crucem. Miserere [Paris, after 1150] 4:16Sung Text: Anonymous

0 Anon.: Per tuam crucem. Miserere [Notre Dame, after 1200] 11:57Sung Text: Anonymous

! Anon.: Magnificat [Regensburg, after 1250] 3:35Sung Text: St Luke 1, 46-55

@ Anon.: Exaudi nos, Domine [Erfurt, 1301] 3:44Sung Text: Psalm 69



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Anima mea explores the Christian concept of the soul through these masterpieces of medieval SacredMusic. Hildegard of Bingen’s beautifully exalted harmonies represent God’s order in the music of thespheres. The recently rediscovered Erfurt Ritual contains sung music from Master Eckhartʼs historicalcontext. These antiphons are performed here for the first time since 1525, along with chants from theliturgy of the Roman mass, music from the Notre Dame School, and a glorious Magnificat. The Germanduo Ensemble Cosmedin, who take their name from a church in Rome, are considered one of theleading ensembles for medieval and modern sacred music. Music of the soul – gentle and luminous.

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Booklet notes in E

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Made in G

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A detailed track list can be found on the back page of the bookletThe Latin sung texts and German and English translation can be found inside the booklet,

and may also be accessed at www.naxos.com/libretti/572632.htmRecorded at Atelier Impuls, Stuttgart, Germany, on 31st October, 2009 (tracks 1, 2, 6-8, 12),

and on 21st August, 2010 (tracks 3-5, 9-11)Producer: Christoph Haas • Engineer: Christoph Knödler • Mixing and mastering: Axel Kühlem

Cover: Madonna Annunziata (1475, detail) by Antonello da Messina (1430-1479)(Galleria Nazionale, Palermo, Sicily, Italy / Giraudon / The Bridgeman Art Library)

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Ensemble CosmedinStephanie Haas, Voice, Bell 7

Christoph Haas, Bowed psalterium 2 4 6 7 8 9 0 @; Bells 1 5 7; Long necked lute tambura 1; Tenor fiddle rubeba 1 3

1 Adorna Thalamum 3:022 Credo, quod Redemptor

meus vivit 4:323 Salutatio Beatae

Mariae Virginis 1:374 Qui habitat in adiutorio

altissimi 13:035 Christe qui lux es et dies 5:52

6 Sicut cervus 4:057 O viriditas digiti Dei 6:088 Immutemur habitu 2:479 Per tuam crucem. Miserere 4:160 Per tuam crucem. Miserere 11:57! Magnificat 3:35@ Exaudi nos, Domine 3:44

anima mea - naxos music library · magnificat anima mea dominum(my soul doth magnify the lord) ! is...

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