Espejo de viento

During her life, the medieval nun, theologian, poet, and composer Hildegard of Bingen held sway as a seer, her teachings heeded by Popes and emperors alike. She saw Paradise as a place of pure, many-voiced music and believed it fell to the prophets to revive the lost angelic concert, through a fusion of word and melody. Hildegard herself devised such music—a cycle of 77 liturgical songs, which she called “Symphonia armonie celestium revelationum,” or “Symphony of the Harmony of Celestial Revelations.” “They are pieces of spectacular length and breadth, dissolving syllables into endless melismatic flights,” Alex Ross writes. The concept of a professional composer would not take hold for several centuries, but Hildegard was one of the first to exhibit a recognizable voice. The contradiction that she represents—a woman presiding over the earliest stages of the male-dominated Western canon—has had a galvanic effect on contemporary female composers, who see in her the shape of sound to come. Read more about the visionary polymath at the link in our bio. Photograph from Art Reserve / Alamy.

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How two women pulled off a medieval manuscript heist in post-war Germany Two precious manuscripts hidden in a bank vault survived the Allied bombing of Dresden, but one wound up in Soviet hands — until it was smuggled home.

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