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About the chant:
Abbess Hildegard of Bingen apparently enjoyed a particular reverence for St. Ursula and her martyred companions; this was a group of several thousand Christian pilgrims popularly believed to have bonded together in a vow of chastity, who were all slaughtered by the pagan German noble who desired Ursula for his wife. Hildegard apparently wrote music for a complete festival of worship for this group of Rhineland martyrs, including a Mass Responsory, a complete cycle of eight (or nine) Office antiphons, and an Office hymn for Ursula and her devotees. Most of the works Hildegard wrote are brief and pithy, suitable for performing an annual service honoring the saint. The hymn, Cum vox sanguinis, however, is much more extended in poetic and musical exposition, and reveals the subtlety of Hildegard's thought.
Her opening verses proceed in perfect poetic parallelism: Ursula and her "innocent crowd" sing "with a voice of the blood" before God, saying their sacrifice is for Him and worthy of rejoicing; similarly the whole congregation of the Lamb of God sings praise in Jerusalem for the "power of His blood"; Hildegard's musical phrases powerfully outline the melodic structure behind the mode: tonic, fifth, lower fifth, and modal octave. The successive verses continue with the blood imagery, and the rich parallels between the sacrifices of the Old Testament and those of the martyrs, and the close parallelism of musical structure that mimics the structures of Hebrew Psalm poetry. She links the Old Testament sacrifice of bulls that Moses brought to the slaughter of these martyrs, the creation of man from clay in Psalm 99 to the transitory nature of our beings now, the prayerful desire before the rising sun (Psalm 62) to the praise before the throne of the New Jerusalem, gleaming in topaz and sapphire. Throughout, she allows the music of her singers to float among the same modally important pitches (not always a characteristic of chant melodies), and to insert potent shifts between the B natural and B flat inflections of the mode and relatively quick but also potent melismas on particular words such as the name of Moses and the "hanging" of Christ on the tree. She ends this virtuoso composition with the exhortation for all the heavens and all peoples on earth to sing the same praises, with the most extended melisma on the concluding "Amen!"
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This chant was performed by Discantus
Performer: Brigitte Lesne
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Latin Text:
Cum vox sanguinis
Ursule et innocentis turbe eius
ante thronum dei sonuit,
antiqua prophetia venit
per radicem Mambre
in vera ostensione trinitatis
et dixit:
Iste sanguis nos tangit,
nunc omnes gaudeamus.
Et postea venit congregatio agni,
per arietem in spinis pendentem,
et dixit:
Laus sit in Ierusalem per ruborem
huius sanguinis.
Deinde venit sacrificium vituli
quod vetus lex ostendebat,
sacrificium laudis circumamicta
varietate,
et que faciem dei Moysi obnubilabat,
dorsum illi ostendens.
Hoc sunt sacerdotes qui per linguas suas
deum ostendunt
et perfecte eum videre non possunt,
et dixerunt: O nobilissima turba,
virgo ista que in terris Ursula vocatur
in summis Columba nominatur,
quia innocentem turbam
ad se collegit.
O Ecclesia, tu es laudabilis
in ista turba:
turba magna, quam
incombustus rubus
quem Moyses viderat significat,
et quam deus in prima radice
plantaverat
in homine quem de limo formaverat,
ut sine commixtione
viri viveret,
cum clarissima voce clamavit
in purissimo auro, thopazio,
et saphiro circumamicta in auro.
Nunc gaudeant omnes celi,
et omnes populi cum illis
ornentur. Amen.

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