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The five sections are meant to be points of a star, with a brief but mystical center at the end of Movement III. Concerning the number symbolism of medieval times, the numbers 3 and 4, as reflected in the duration of these movements and in the overall pulse (rather than meter, which is not defined by the barlines, which primarily serve as conducting\/performing aids) delineate the stance of the listener between God and the world. \u003c\/p\u003e\n\n\u003cp\u003eThe text of this Antiphon has been divided into five parts, with each part comprising one movement of the work:\u003c\/p\u003e\n\n\u003cp\u003eI. Caritas abundat in omnia Complete love abundant everywhere\u003c\/p\u003e\n\n\u003cp\u003eII. De imis excellentissima Of that beneath the most excellent\u003c\/p\u003e\n\n\u003cp\u003eIII. Super sidera Above the stars\u003c\/p\u003e\n\n\u003cp\u003eIV. Atque amantissima in omnia In all the most loving\u003c\/p\u003e\n\n\u003cp\u003eV. Quia summo Regi osculum pacis dedit. To whom, the exalted King,\u003c\/p\u003e\n\n\u003cp\u003eThe kiss of peace is bestowed.\u003c\/p\u003e\n\n\u003cp\u003eThe choice of instruments to accompany the singers, as Hildegard outlined, are also balanced and symbolic. For instance, Hildegard suggests in Scivias that the tambourine would be fitting to accompany songs; the tambourine and the triangle (an expression of joy) are played by the individual singers (if the singers do not wish to play these instruments, they may be played by the percussionist or another player), who, in turn, are heard in concert with flute, clarinet, piano, and percussion. The percussion section includes a variety of drums, suspended cymbals, and tubular bells (chimes), among others, to underscore both Hildegard's instruction as well as her fervor.\u003c\/p\u003e\n\n\u003cp\u003eUpon examination of this Antiphon, one notices the balance found in every parameter of the work. For instance, the beginning and ending pitches of each line (or section) alternate between d and a, with the lowest note in the range (a) being sounded at the mid-junction of the text (\"super sidera'). I have, therefore, sought to balance proportions in corresponding variations on Hildegard's melodic line. Instrumentally, in Movements I and II, the mezzo-soprano is combined with clarinet, the baritone with flute, both of whom are accompanied by piano and percussion; the assignment of instruments to singers is reversed in Movements IV and V.\u003c\/p\u003e\n\n\u003cp\u003eThis sense of symmetrical balance is prevalent throughout: for instance, the use of the retrograde motive (with rhythmic diminution) in Movement II was used as an equilibrium principle. The third movement involves tutti forces, since it is central to the whole. The use of tritonal relations in Movement IV also signifies a balanced octaval juncture while, simultaneously, indicating an affective direction.\u003c\/p\u003e\n\n\u003cp\u003eI called upon the proportion of the Golden Mean (but not doggedly!) in planning significant musical events, instrumental entries, tone color contrasts, or thematic recurrence, but only employed it when the direction of the music allowed. For instance, about one-third of the way through Movement I, the tubular bells (chimes) can be heard, always reminiscent of the sacred. In Movement II, the opening sonorous chords of the piano recur at an important proportional juncture. The sense of symmetry in this movement extends to the appearance of the retrograde version of the theme (in rhythmic diminution) four measures after the theme itself has been presented. In addition, at the point approximately one-third through Movement III (measures 42 ff.), there is a dialogue between the voices and the woodwinds, the woodwinds sounding the final motivic cells of the chant line in retrograde and in diminution, as the voices sing the section of chant from the beginning; the lines meet (measure 47) and then continue on with more chromatic variations.\u003c\/p\u003e\n\n\u003cp\u003eIn using this Antiphon as my inspiration, I wished to retain its basic character and so did not alter its melodic line, as each chant portion was introduced at the beginning of each movement. In Movement IV, one can also hear the eleventh century Sanctus trope, Divinum mysterium, whose English text, \"Of the Father's love begotten\" is related to the message of \"Caritas abundat\"; the melodic direction of certain phrases in these two chants are similar enough to be used in combination in Movement IV. 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