music

From the Archives: Why Isn’t Easter Marketable? By Anjeanette LeBoeuf

This as originally posted on March 25, 2018.

A few months ago, a friend and I were having one of our many hundreds of random conversations when we started to talk about the differences in the commercialization of the two major Christian holidays: Christmas and Easter. We started really getting invested it this question and what factors lead to Christmas become the juggernaut that it currently is.

Both holidays are given official status. Christmas is a designated federal holiday due to it being permanently celebrated in the Western Christian community on December 25^th. Whereas Easter shifts due to seasonal and lunar changes but is always celebrated on a Sunday, meaning it did not need to be given a designated status as Sundays are recognized by the State as a non-work day. Schools across the globe used to call it Christmas and Easter breaks. In the last 10 years, all schools have adopted the politically correct terms of Winter and Spring Breaks. Yet, they still function around the religious observances.

Christmas, it seems comes more and more early in shops. Decorations, candy, gifts, and marketing can be seen as early as September. Christmas music can start to play on radio stations and coffee houses as soon as early November.

Connecting Heaven and Earth: Singing Hildegard

September 17 marks the feast day of 12th century Benedictine abbess and powerfrau, Hildegard von Bingen.

Born in the Rhineland in present day Germany, Hildegard (1098–1179) was a visionary and polymath. She founded two monasteries, went on four preaching tours, and wrote nine books addressing both scientific and religious subjects, an unprecedented accomplishment for a 12th-century woman. Her prophecies earned her the title Sybil of the Rhine.

Over eight centuries after her death, Hildegard was finally canonized in May 2012 and in October 2012 was elevated to Doctor of the Church, a rare and solemn title reserved for the most distinguished theologians.

But most people today know Hildegard best for her soaring ethereal music.

The first composer for whom we have a biography, she composed seventy-seven sacred songs, as well as Ordo Virtutum, a liturgical drama set to music.

Her melodies are completely unlike the plainchant of her era—or anything that has come before or since. Likewise her lyrics are highly original and feel fresh to us even today. She was the only 12th century writer to compose in free verse.

Hildegard and her nuns sang the Divine Office eight times a day. She believed that song was the highest form of prayer—the mystical power of music reunited humankind to the ecstasy and beauty of paradise before the fall, connecting the singer directly with the divine, and joining heaven and earth in celestial harmony.

I’ve spent years researching Hildegard. I’ve visited the sites of her abbeys along the Nahe and Rhine, studied her writings, and written a novel about her, Illuminations: A Novel of Hildegard von Bingen, published in 2012. I’ve had the privilege of discussing Hildegard’s life and work with scholars, musicians, and people of faith from around the world. But not until last month did I have the opportunity to experience firsthand what it would be like to sing Hildegard’s wondrous music.

In August I took part in a retreat entitled “Connecting Heaven and Earth: The Chant of Hildegard” at Hawkwood College in Stroud, southern England, led by renowned soprano Dame Emma Kirkby and by author, spirituality teacher, and musician Caitlin Matthews. I’ve been reading Caitlin’s sublime books from the moment she started publishing in the 1980s. Caitlin’s Sophia: Goddess of Wisdom, Bride of God is a spiritual classic I highly recommend. I also own and adore Emma’s iconic 1985 album, Feather on the Breath of God, which first introduced Hildegard’s music to a wide mainstream audience.

This course was open to singers of all abilities. I would describe myself as an enthusiastic amateur, better suited for folk songs than Hildegard’s soaring octave leaps, but as a lover of Hildegard, how could I not at least give it a try? I’ll confess I was somewhat intimidated to learn that many of the participants were professional or semi-professional singers who were quite adept at sight-reading and that some of the scores we worked with were not in modern notation but in the medieval neume pattern. I found our singing classes quite daunting, even grueling, for we were experiencing a heat wave and our classrooms were all south facing with huge glass windows and radiators we could not shut off!

Hildegard’s music is challenging, especially for amateurs like me. It requires a huge range of voice, from ascendant scales that even the experienced sopranos sometimes struggled with, to deeper, profounder notes. But as the weekend went on, I began to slowly grow in confidence, following the stronger voices around me, and enjoying the sheer beauty of the music.

Caitlin helped balance the retreat by sending us on outdoor walking meditations through the beautiful gardens and woodlands where we could meditate on Hildegard’s vision of Viriditas–the sacred as manifest in the green, growing world.

On our last evening, we performed a recital with an audience of one, a friend of one of the participants. Some of the more accomplished singers sang solos while the rest of us joined in the chorus and in other songs. Listening to the soloists, I nearly wept, it was so beautiful and transformative. Listening to Hildegard’s music, particularly when performed live, moves the spirit within. These sacred songs are literally uplifting, just like the dramatic leaps in scales. After our recital, our single audience member told us that she felt the music lifting her heart energy toward heaven.

Our evening recital at Hawkwood. Caitlin and Emma are front and center. I am the short one with the long hair in the back, on the right.

While writing Illuminations: A Novel of Hildegard von Bingen, I listened nonstop to CDs of Hildegard’s music, creating a wall of sacred sound that helped inspire and empower my writing. But singing her music live as an amateur was a completely different and possibly more authentic experience than listening to polished and digitally mastered CDs. Hildegard composed her music to be sung by her sister nuns, not all of whom would be accomplished vocalists. She might have had sisters who were tone deaf or had a very limited vocal range. In sacred song what matters most is the spiritual intention behind it, rather than talent or technique or polish. Each song is a prayer offered to the divine. Sacred song is all about the mystery of devotion rather than the mastery of notes or neumes. Singing in a group of like-minded women, even with such a broad range of ability as we had, we reached a sublime place, our voices joining, so that we could hear the Voice behind our individual voices.

“There is the music of heaven in all things,” Hildegard wrote. “But we have forgotten to hear it until we sing.”

Happy Hildegard Day!

Mary Sharratt’s Illuminations: A Novel of Hildegard von Bingen is published by Mariner. She has also written about another female composer, Alma Schindler Mahler, in her new novel Ecstasy. Visit Mary’s website: http://www.marysharratt.com

Finding God in Music by Gina Messina

We cannot force a connection with God through a faulty conduit. What is important is that we affirm ourselves when we find it — when we feel it. Embrace those experiences, name them for what they are and recognize that you are sacred and the divine – whatever that means to you – is present.

When I’m in a funk, I generally feed into it and make it worse. Once we are in a rut it is easy to continue the spiral downward. I’m good at admonishing myself for lacking gratitude when I feel this way. It might be a Catholic guilt thing.

A few days ago, I was in a dark place; but this time I tried to own my sadness, acknowledge it, and let it go. The only thing I could think to do in hopes of shifting my emotions was to put on music – something up beat that would allow me to transcend the moment.

I listened to a live version of “Stay” by The Dave Matthews Band, a song about embracing the beauty of our lives and the idea that those moments where it feels like we are just wasting time are often our most precious; the ones that allow us to connect with each other and ourselves. It was the sermon I needed — and an important lesson my uncle taught me — but more on that shortly.

I often say that I think music is the sound of my spirit — our spirits. As I started writing this, I struggled with finding the words to articulate the feeling music provokes within me. There is little else that creates such an indescribable experience and that is why I think that music is where I find my connection to the divine.

Traditional religious services have always felt challenging to me. I don’t connect to much of anything and generally find myself feeling angry and rejected by the Church and the community where I am supposed to find God. My grappling with Catholicism aside, we are told that our spiritual lives must take place within particular dimensions, and for many of us God is not there. Continue reading “Finding God in Music by Gina Messina”

If Holly Near’s Simply Love Album Were a Musical by Elisabeth Schilling

For many of us, listening to women-loving-women songs is a spiritual experience. That is because somehow it makes us feel seen, puts a sense of hope into our world as well as daydreams of romance. We can understand the challenges and the regret or guilt that comes with disappointing others and ourselves, them for not being who they wanted us to be and for us, not being who we are for far too long. Holly Near’s Simply Love album narrates a story that I might envision as a musical theatre production, and I really wish someone would ask me to write it and then hold the casting call (yeah, I’d want to be in it too, so save me a part). I offer some of my thoughts on two central songs in the would-be musical in hopes of sacred liturgy on a potential stage.

Simply Love has 28 songs and was released (according to Spotify) in 2000. I think the synopsis would be surrounding Cassandra, in a loving relationship with her partner, reflecting on her journey to this place of authenticity. I can imagine how it might be living one’s live in an exploratory way and coming to new revelations later in life.

Continue reading “If Holly Near’s Simply Love Album Were a Musical by Elisabeth Schilling”

Missing from History: Women Composers by Mary Sharratt

Clara Schumann

To a large extent, women have been written out of history. Any surviving record of female accomplishment is often trivialized or dismissed. This seems especially true in the male-dominated world of classical music. When asked to name a single female composer, many people draw a blank. This isn’t because they’re ignorant, but because women’s music has been buried and neglected for far too long. Even pioneering women composers themselves lived and worked in ignorance of their foremothers.

Clara Wieck Schumann, wife of Robert Schumann, composed her first piano concerto at the age of fourteen and wrote a significant body of work in her early life. Mother of eight children and family breadwinner, she became the foremost concert pianist of 19th century Europe. In her sixty-one-year performance career, she interpreted the work of contemporary composers such as Robert Schumann and Johannes Brahms. Yet when it came to establishing herself as a composer in her own right, she was crippled with self-doubt. “I once believed that I had creative talent, but I have given up this idea,” she wrote in her diary in 1839. “A woman must not wish to compose—there never was one able to do it.” She was only twenty when she wrote these words that condemned her music to obscurity. Continue reading “Missing from History: Women Composers by Mary Sharratt”

My Heroine’s Journey: Writing Women Back in History by Mary Sharratt

We have been lost to each other for so long. My name means nothing to you. My memory is dust.

This is not your fault or mine. The chain connecting mother to daughter was broken and the word passed into the keeping of men, who had no way of knowing. That is why I became a footnote, my story a brief detour between the well-known history of my father and the celebrated chronicle of my brother.

Anita Diamant, The Red Tent

I am an expat author. My home is everywhere and nowhere. A wanderer, I have lived in many different places, from Minnesota, my birthplace, with its rustling marshes haunted by the cries of redwing blackbirds, to Bavaria with its dark forests and dazzling meadows and pure streams where otter still live, to my present home in the haunted moorlands of Pendle Witch country in Lancashire, England. My entire adult life has been a literal journey of finding myself in the great world.

For as long as I remember, I longed to be a writer. As a novelist I am on a mission to write women back into history. To tell the neglected, unwritten stories of women like my pioneering foremothers who emigrated from Bohemia (now the Czech Republic) in the 1860s to break the prairie soil of southern Minnesota.

To a large extent, women have been written out of history. Their lives and deeds have become lost to us. To uncover their buried truths, we must act as detectives, studying the sparse clues that have been handed down to us. We must learn to read between the lines and fill in the blanks. My heroine’s journey, in other words, is about reclaiming the lost heroines of history. My quest is to give voice to ancestral memory of that lost motherline.

Continue reading “My Heroine’s Journey: Writing Women Back in History by Mary Sharratt”

Why Isn’t Easter Marketable? By Anjeanette LeBoeuf

Anjeanette A few months ago, a friend and I were having one of our many hundreds of random conversations when we started to talk about the differences in the commercialization of the two major Christian holidays: Christmas and Easter. We started really getting invested it this question and what factors lead to Christmas become the juggernaut that it currently is.

Continue reading “Why Isn’t Easter Marketable? By Anjeanette LeBoeuf”

We Are Music by Natalie Weaver

Natalie Weaver edited When I was about eight years old, I dreamed one night that I stood inside the workings of an immense instrument, so big it filled the sky. It was crafted of wood and gold, and although there was no obvious source of light, it was brightly illuminated. I could have confused it for the inner workings of a clock except that I could hear the sweet music it produced resonating throughout its cavernous hollows. It was curious to me that there seemed to be no atmosphere there either to breathe or to carry sound. Within it, I did not perceive any movement. And, there was no actual melody that it produced, which could be sung or repeated. There was only an enveloping harmonic thrumming. The sound was multiplicative and voluminous although not piercing. I understood it in the dream to be cosmic, structural, primordial, and generative. When I awoke, I had the feeling that I had seen something divine. It was not heaven. It was not God. It was more like the instrument of the universe, or the universal instrument, created as a first work among creation

It was puzzling to me that I had such a dream because I was not then a musician. I felt that I understood its meaning, but I was surprised by its discontinuity with things in my normal frame of reference. My mother played piano, but she had no music theory in her background. She surely did not have any training in musical cosmologies, such as those produced in antiquity by the philosophers and theologians. I occasionally mentioned the dream over the years when context seemed to warrant it, but, more or less, I filed it away. Continue reading “We Are Music by Natalie Weaver”