Hildegard's Track Record

Recordings of Hildegard continue to appear at a rapid rate, encouraged both by the composer's revival and by the 900th anniversary of her birth next year.

The most extensive recordings have been made by the English choir Sequentia, whose intention to record her entire catalogue sparked the boom. Their recordings, all on Deutsche Harmonia Mundi, are of the most traditional nature - entirely monophonic and all female - and quite beautiful. Its Canticles Of Ecstasy (DHM 05472 77320 2) is the pick of its recordings, but its Voice Of The Blood (DHM 05472 77346 2) and O Jerusalem (DHM 05472 77353 2), all comprising the chants from the Symphoniae, also provide a perfect introduction to Hildegard's music.

Of all Hildegard's works Ordo Virturum, not being tied to the Divine Office, provides the most room for interpretation. Another English choir, Vox Animae (Etcetera Records, KTC 1203), uses all this latitude to include harp, recorder and percussion among the embellishments. John Hancorn makes a fine Devil on an interesting record.

Perhaps the finest Hildegard CD, though, is the recent release by the American group Anonymous 4, 11,000 Virgins (Harmonia Mundi USA, HMU 907200), which brings together the chants dedicated to St Ursula. That four voices could make the music sound so natural is a testament to their fine performance. They are completely at home with the music, and the decision to group the chants into the Vigil, Laud and Vespers, mirroring the order of the day's worship, is inspired, capturing the spirit of the music perfectly.

There is also a fine recording on the Naxos label, by the Oxford Camerata, Heavenly Revelations (Naxos, 8.550998). The extensive use of male voices seems a trifle peculiar, but it works well nevertheless.

Most of the other recordings are German, including the Ensemble Mediatrix's recording Feminea Forma Maria (Calig Records, CAL 50 982), which focuses more on the feminine nature of her work than the other discs.