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Hildegard Now & Then

Kismara Pessatti, Sarah Hatch

Hildegard Now & Then
Recordings of this music often emphasise its ethereal quality, with floating soprano voices conjuring a celestial soundworld. So the dark, rich voice of Kismara Pessatti casts a whole new light...

Hildegard Now & Then

Kismara Pessatti, Sarah Hatch

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Recordings of this music often emphasise its ethereal quality, with floating soprano voices conjuring a celestial soundworld. So the dark, rich voice of Kismara Pessatti casts a whole new light...

About

As much as we know about Hildegard of Bingen, a German Benedictine abbess who set up her own monastery on the banks of the Rhine and became famous for her religious thinking and visions, there are so many questions we may never answer. This, in part, is what makes her music at once fascinating and mysterious. Described as the sybil of the Rhine, and known far beyond her native land, Hildegard managed to find her own creative and intellectual voice, setting up a monastery, writing theological tracts, communicating with popes, bishops and emperors, fighting against corruption in the Church, her thoughts often shaped by the visions which had been central to her life since childhood. Contralto Kismara Pessatti and percussionist Sarah Hatch explore the original works by Hildegard and give continuity to her inspiration through new world premieres works by Brazilian composer Silvia Berg.

Contents and tracklist

Spiral Pieces: No. 1, Caritas abundat in omnia
Track length3:11
Spiral Pieces: No. 2, La douleur
Track length5:53
Spiral Pieces: No. 3, Pilastra angular
Track length4:36
Spiral Pieces: No. 4, L'ucello
Track length3:07
Spiral Pieces: No. 5, Soul of Music
Track length6:18
Spiral Pieces: No. 6, Mírate a ti mismo
Track length2:47
Spiral Pieces: No. 7, Auf unseren Seelen hören
Track length9:19

Awards and reviews

February 2020

Recordings of this music often emphasise its ethereal quality, with floating soprano voices conjuring a celestial soundworld. So the dark, rich voice of Kismara Pessatti casts a whole new light on her music. The Brazilian contralto’s vocal style is rooted in scholarly study, but that never hinders a sense of improvisatory freedom.
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