Four settings of texts by Hildegard of Bingen, individually each between 1-2 minutes. They may be performed individually or as a set. Written without any reference to the (still available!) melodies written by Hildegard — you could perform them in that context however…
O mirum admirandum
Vos flores rosaum
O virga mediatrix
O choruscans lux stellarum
IV. O choruscans lux stellarum performed by OC Women’s Chorus, 2022O mirum admirandum NOTE: recording is a 3rd lower than the printed music.Vos flores rosarumO virga mediatrixO choruscans lux stellarum
Update to this post — I’ve now written two more of these pieces using texts by Hildegard. Also rejigged one of those to another key so now all four of them are more comfortably singable by a standard SSAA configuration, rather than me really straining to get a low D! (Means the top line goes up higher than I am comfortable on now, but that’s kind of the point: I’m not really a soprano!)
O virga mediatrix,
sancta viscera tua
mortem superaverunt
et venter tuus omnes creaturas
illuminavit in pulchro flore
de suavissima integritate
clausi pudoris tui orto.
O branch and mediatrix,
your sacred flesh
has conquered death,
your womb all creatures
illumined
in beauty’s bloom from that exquisite purity
of your enclosed modesty
sprung forth.
O choruscans lux stellaris / O glittering starlight!
O choruscans lux stellarum,
o fulgens gemma:
tu es ornata in alta persona
Tu es socia angelorum
et civis sanctorum.
Fuge, fuge speluncam
antiqui perditoris,
et veniens veni in palatium regis.
O glittering starlight
O shining gem:
you are adorned like a noble
you are a companion of angels
and a citizen among the saints.
Flee, O flee the cave
of the old betrayer
and come, O come into the king’s palace.
Settings of two poems from the Metaphysical Poets book, both by John Donne. Quick recordings, you know the drill.
The first one I was basically trying to write The Skye Boat Song or The Parting Glass, just a really pretty folk-type tune, you know?
Song: Sweetest love, I do not goe
Sweete love, I do not goe,
For wearinesse of thee,
Nor in hope the world can show
A fitter Love for mee;
But since that I
Must dye at last, ‘tis best,
To use my selfe in jest
Thus by fain’d deaths to dye;
Yesternight the Sunne went hence,
And yet is here to day,
He hath no desire nor sense,
Nor halfe so short a way:
Then feare not mee,
But beleeve that I shall make
Speedier journeyes, since I take
More wings and spurres then hee.
O how feeble is mans power
That if good fortune fall,
Cannot adde another houre,
Nor a lost houre recall!
But come bad chance,
And wee joyne to'it our strength,
And wee teach it art and length,
It selfe o'r us to'advance.
When thou sigh'st, thou sigh'st not winde,
But sigh'st my soule away,
When thou weep'st, unkindly kinde,
My lifes blood doth decay.
It cannot bee
That thou lov'st mee, as thou say'st,
If in thine my life thou waste,
Thou art the best of mee.
Let not thy divining heart
Forethinke me any ill,
Destiny may take thy part,
And may thy feares fulfill;
But thinke that wee
Are but turn’d aside to sleepe;
They who one another keepe
Alive, ne'r parted bee.
There’s a line in Howl’s Moving Castle which I feel like is Wynne Jones directly getting at Donne for his TERRIBLE SCANSION in another ‘Song’ —
“Then I’ll start with the second verse,” Miss Angorian said, “since you have the first verse there in your hand.” She read very well, not only melodiously, but in a way which made the second verse fit the rhythm of the first, which in Sophie’s opinion it did not do at all.
— similar problems here; what is going on the end of the second verse with the syllables and stresses? I know normally it’s my fault for starting with an odd verse and then realising nothing else quite fits that, but this time it really is that one second verse is odd. Anyway, hence some slight alterations.
And now a fabulously bitter break-up / heart break lyric!
The Message
Send home my long stray’d eyes to mee,
Which Oh too long have dwelt on thee;
Yet since there they have learn’d such ill,
Such forc’d fashions,
And false passions,
That they be
Made by thee
Fit for no good sight, keep them still.Send home my harmlesse heart againe,
Which no unworthy thought could staine;
But if it be taught by thine
To make jestings
Of protestings,
And crosse both
Word and oath,
Keepe it, for then ‘tis none of mine.Yet send me back my heart and eyes,
That I may know, and see thy lyes,
And may laugh and joy, when thou
Art in anguish
And dost languish
For some one
That will none,
Or prove as false as thou art now.
Big project from last week — a mashup of Ignition Flame from FFVII Remake and Vivaldi: the Presto from Summer. Because they really fit together! The other thing I was working on here was the production and and sound, trying to make it sound like it would fit with the Remake tracks (in terms of sound anyway, some of it remains unrepentantly classical, or rather baroque, and that’s fine.)
I’m realising that mashups / combinations / syntheses(?) of things are clearly something I’m very interested in! …I ahah can actually tie this back in to my thesis, heh, and all the collage of song texts I started doing, which was also an Old Hispanic liturgical composition technique………….
“God of mercy, God of grace” By Henry Francis Lyte
GOD of mercy, God of grace,
Show the brightness of Thy face:
Shine upon us, Saviour, shine;
Fill Thy Church with light divine;
And Thy saving health extend,
Unto earth’s remotest end.
Let the people praise Thee, Lord;
Be by all that live adored;
Let the nations shout and sing
Glory to their Saviour King;
At Thy feet their tributes pay,
And Thy holy will obey.
Let the people praise Thee, Lord,
Earth shall then her fruits afford;
God to man His blessing give;
Man to God devoted live;
All below, and all above,
One in joy and light and love.
The last couple days just been gently getting back into things fairly impulsively, using some words by Hildegard of Bingen and seeing what I came up with. (Just the words and not the chant tunes I know…… controversial….)
I also made some extremely reverby recordings, to pretend I am sixteen people in a cathedral.
These are so far for slightly different vocal groupings, unless singers are prepared to be rather flexible. For the second one I attempted what I remember of “Old German Latin” from singing with Schola Cantorum. For the first, just some vague church Latin….. (and I said “beata” instead of “beati”, making it grammatically nonsensical, oops.)
Vos flores rosarum,
qui in effusione sanguinis vestri
beati estis
You buds of roses,
who in the shedding of your blood
are blessed
O mirum admirandum,
quod absconsa forma praecellit,
ardua in honesta statura,
ubi vivens altitudo
profert mystica.
Unde, o Disibode,
surges in fine,
succurrente flore
omnium ramorum mundi,
ut primum surrexisti.
O wonder, O how wondrous!
A hidden form, so hard, so high, so steep,
surpasses in its lofty honor—
where Living Height itself
reveals the mysteries.
And so, O Disibod,
you shall arise at the end of time
as first you rose—
the flower of all the branches
of the world
comes to your aid.
I was just looking up when I did the Infinity Crystal soundtrack last year — it was a little later in Spring. Which is just as well because this new sequel/prequel/spinoff project I have in mind might take a little longer than that did… but it’s hopefully coming sometime… soon… this Spring?
Another RPG soundtrack (that I plan to put on itch.io as well as bandcamp and streaming etc, so people can use it in their games), this time with a slightly different sound and style. Something a little more “action” and also with more fancy/realistic sounds …. but mainly …. I had the idea to do a score that included:
taiko drums
electric cello
And I’m really pleased how well that’s actually working! Taiko (..and though I’m also looking into the genre and music for real on the side, I’m not writing accurate or drum-only music here; if it’s slightly more in the realms of reality than most of what’s written with like EPIC TRAILER TAIKOS!!!11 that’s good though) broadened into including a few more traditional Japanese instruments (making up something like the ensemble Japan Marvelous Drummers uses for softer numbers). And electric cello brought a general rock band with it, so I also want to feature massive fun electric guitars for this kind of mood.
Field Running‘Private Words’‘Rush’ – one of the battle tracksNo title yet, but uses the background countermelody from Private Words and slightly unites the two sides/styles.Theme: ‘Now is the cherry in blossom’ (ensemble version)
Now is the cherry I actually wrote first as a song! and have recorded and played a couple ways. it’s gonna be a recurring theme in this game and go with some of the relationships/characters 🙂