Customer Reviews

Hildegard Von Bingen

5 star:		(7)
4 star:		(5)
3 star:		(4)
2 star:		(1)
1 star:		(2)

 

 

This is a very listenable adaptation of the chant attributed
to Hildegard of Bingen, a Christian mystic who lived mainly
in the 12th century. Her connection to God manifests itself
in the intimate wedding of the text with the complicated
plainsong chant.

This also may be one of the more accessible recordings for
modern listeners, since not only do Gamarna sing with some
instruments (from later periods) but have a backup reminiscent
of . . . Enigma. You know, guitars, drum beats, etc. I find
this recording to be a lot more listenable than Engima, though.
Whereas Enigma revels in irreverence, Gamarna seems to have a
great respect for the material.

As far as the Latin pronunciation goes (mentioned in another
review), I have to point out that this is not classical Latin
but rather medieval Latin. We actually *do* have a good idea
of the standard classical pronunciations. The other reviewer
defends Gamarna's evident Swedish accent. I also find it
pleasant, since their vowels are nice and pure. However, from
an historic standpoint, it might have been more appropriate to
sing these canticles with the "German" pronunciation (fecit=
"feh-TSEET") rather than the "Italian" Latin (fecit= "feh-CHEET")
. . . I think it might be more appropriate for 12th century
Bingen, and migh have jibed better with their accents. But still,
if you would like and introduction to v. Bingen's music, and
don't mind modernized arrangements, this is your recording!

I love Garmarna. I got the chance to see them last fall at the World Financial Center, where they previewed songs from this album. At that time they played the songs in a more traditional Garmarna way, without the trippy elements that are on this album. My overall feeling after listening to the whole cd is that I like it, even though it is a bit of a departure from their previous work. Certain songs work better than others such as Euchari, Unde Quocompque, and Virga Ac Diadema which are fantastic. Emma's voice is beautiful as usual. The only complaint that I could make is that I was kind of hoping to hear a more Swedish version of Hildegard. I was longing to hear more violin and hurdy-gurdy. Still, Garmarna are far superior to 99% of the bands out there so I happy to hear anything from them.

I have had this CD for about half a year now (caught the Swedish release) and it's been a constant favorite along with the other Garmarna albums. Definitely, this album is more "techno" than the previous ones.

Emma's vocals soar high above and, though some have commented on her Latin intonation, this is exactly how I imagine it must have sounded in many a Scandinavian nunnery (minus techno track, and fiddles etc) in mediaeval days. Remember that nobody knows exactly how the Romans pronounced their Latin and that the intonation of every Latin speaker is heavily colored by their native language. So, in my mind, a Swedish accent rather adds to the authenticity in this case!

The techno tracks are innovative and fresh - I listen to this CD for hours on end.

Garmarna continues down the path they plotted with "Vengeance," and is now very far into electronic/techno land. The overall feel of this disk, like "Vengeance" is very sedate, contemplative, airy. The techno rhythms and looped samples clash with the Emma Hardelin's delivery of the songs. This disk was an interesting concept that, unfortunately, was not realized effectively.

There's a market these days for mysticism, especially erotic mysticism written by a Medieval nun in ecstatic Latin. If the nun tiptoed a fine line between heresy and sainthood, all the better! Hildegard von Bingen, unlikely as it sounds, is marketable in these times, when so many people are terrified of humanity's scientific shadow and unable to accept their miniscule place in time and space. The philosopher Spinoza had one answer for them, but many find Hildegard more comfortable, especially when updated with a techno-punk synthesizer riff and the omnipresent duple-time pulse of pop percussion.

Yes, this IS a CD of the words of Hildegard von Bingen, sung in Latin by Emma Härdelin and backed by the guitars, fiddles and percussion of the Swedish group Garmarna. Swedish folk-pop may not be everyone's flask of akvavit, but in the past Garmarna has cut some bewitching, especially on their CD "God's Musicians". I sincerely hope they produced this travesty out of sheer opportunism, hoping to cash in on the vogue for Hildegard. If they were serious, I have only one question: Why?

you can't raelly relate this to the rest of Garmarna's wonderful mediaeval scandanavian folk music, because it's nothing of the sort. It's mostly somewhat Enigma-like gregorian chant accompanied by Garmarna's signature fiddles and drums. I love Emma to death but her pronunciation of latin is almost embarassing. Interesting, and a pretty cool idea, but not my favourite album.

There are some surprisingly tough reviews of this CD here. Criticizing her pronounciation of the Latin lyrics!? I don't think that Garmarna intended to "recreate" any sort of authentic version of von Bingen's music. Rather this music is very much in the spirit of re-interpretation. I generally don't like techno or electronic dance music in general because I am bored by it, but to add the machinery and some of the conventions of that form to medieval plainsong certainly brings out the best in the former.

I will not even bother to argue whether it brings out the best in the latter because purists might burst a blood vessel and I certainly haven't listened to enough more reverential interpretations to really judge. I believe that the purpose of projects like these is to interest a broader audience in more traditional interpretations of historical musical forms. Once a fan of pop music or even of neo-traditional Swedish music hears this album, if they have not heard von Bingen's music before, they will most assuredly be moved to seek it out. And for that the more dogmatic of von Bingen appreciators should thank Garmarna.

A little bit of traditional. A little bit of progressive. A little bit techno. I don't know why all the hub-bub about this Garmarna being so different. It seems the major gripe has been the techno sound. So? I think it's about time Garmarna put out something that encourages me to finish listening to the CD in one setting. Actually, it sounds a bit like Sorten Muld. You like Sorten Muld, don't you? I just think it's pretty darn good! One thing however; be forwarned about explicit Christian lyrics (duh - Hildegard von Biingen, Christian mystic - duh), if that means anything to you. Of course, the only way you'd know that would be to check out the translation inside the CD. I was a bit surprised how blatent the lyrics actually were. It was something I hadn't expected.

The way Garmarna presents the works of Hildegard is really exciting - very different from the traditional interpretations. I think this appeals to a non-orthodox group of people who enjoy the sweet lyrics in real adoration! I especially love their interpretation of "Virga ac Diadema" and "Salvatoris". I enjoyed much of the remainder of the album - but these are my 2 favorites.

Emma joins the ranks of people like Nina Simone, Billie Holiday, and Liz Fraser (Cocteau Twins) here. Even if you're a stone cold atheist, you can hear god in the grain of her voice. There is a feeling of devotion so intense that it shades into the sensual. Those coming here from the Hildegard angle will no doubt be taken aback by the vintage trip-hop trimming and sawing violins, but they refresh the material and the listener's spirit. Organic, electric, Nordic, Latinate, mundane (ode to a leafy branch), and ethereal--it all hangs together remarkably well, & there are moments of pure transcendence. You also get to see the magical Emma perform one of the songs live. One only wishes they would record and tour the US more.