An Exploration of Range, Mode and Performance Practice in Hildegard von Bingen’s “O tu illustrata”

Abstract

Hildegard von Bingen’s “O tu illustrata” is a puzzle of a piece, both due to its modal instability and its extravagant range of an 18th. Thought of as “impossible” to sing, most recordings and editions have made major changes to the melody, especially in the verse. What did Hildegard intend with “O tu illustrata”? How should one approach singing it now? This paper explores possible answers to these questions, drawing on contextual clues from Hildegard’s life story, her musical milieu, her other works, modal and textual analysis of the piece, modern editions and recordings, and what is even possible for the human voice.