THE TENTH CHILD OF A LESSER NOBLE FAMILY, HILDEGARD (1098–1179) was turned over to the care of an abbey in the Rhineland when she was eight years old. There she learned Latin and received a good education. She spent most of her life in various women’s religious communities, two of which she founded herself. When she was a child, she began having mystical visions, often of light in the sky, but told few people about them. In middle age, however, her visions became more dramatic: “And it came to pass . . . when I was 42 years and 7 months old, that the heavens were opened and a blinding light of exceptional brilliance flowed through my entire brain. And so it kindled my whole heart and breast like a flame, not burning but warming . . . and suddenly I understood of the meaning of expositions of the books.”* She wanted the church to approve of her visions and wrote first to Saint Bernard of Clairvaux, who answered her briefly and dismissively, and then to Pope Eugenius, who encouraged her to write them down. Her first work was Scivias (Know the Ways of the Lord), a record of her mystical visions that incorporates extensive theological learning.

Obviously possessed of leadership and administrative talents, Hildegard left her abbey in 1147 to found the convent of Rupertsberg near Bingen. There she produced Physica (On the Physical Elements) and Causa et Curae (Causes and Cures), scientific works on the curative properties of natural elements; poems; a religious play; and several more works of mysticism. She carried on a huge correspondence with scholars, prelates, and ordinary people. When she was over fifty, she left her community to preach to audiences of clergy and laity, and she was the only woman of her time whose opinions on religious matters were considered authoritative by the church.

Hildegard’s visions have been explored by theologians and also by neurologists, who judge that they may have originated in migraine headaches, as she reports many of the same phenomena that migraine sufferers do: auras of light around objects, areas of blindness, feelings of intense doubt and intense euphoria. The interpretations that she develops come from her theological insight and learning, however, not from her illness. That same insight also emerges in her music, which is what she is best known for today. Eighty of her compositions survive — a huge number for a medieval composer — most of them written to be sung by the nuns in her convent, so they have strong lines for female voices. Many of her songs and chants have been recorded recently by various artists and are available on compact disk, as downloads, and on several Web sites.

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