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Informace

Codex Las Huelgas - Bestiaire et Symboles du Divin 1300-1340 SACD Hybrid Multichannel

La Capella Reial de Catalunya, Hesperion XXI, Jordi Savall

Les oracles d?Ézéchiel et les symboles de
l?Apocalypse :
L?aigle (Jean), le lion (Marc), le taureau (Lucas)
& l?homme (Mathieu)
1. Iocundare, plebs fidelis, cuius Pater est in
celis 6?49
(Prose XVIII, E-BUlh, Ms 11, no 67, f. 60) 

Le soleil, la lune et les étoiles a la fin du
monde.
2. Audi pontus, audi tellus 5?14
(Conductus XXI, E-BUlh, Ms 11, no 161, f. 167v,
157)

Les mouches abominables éloignées par la Vierge.
3. Aterni numinis 6?36
(Prose VI, E-BUlh, Ms 11, no 55, f. 38v)

La colombe, symbole du bapteme du Christ.
4. Kyrie, fons bonitatis 4?26
(Organum III, E-BUlh, Ms 11, no 3, f. 2v)

Le Lion, symbole du pouvoir du Christ.
5. Gaude, Virgo, plena Deo 5?07
(Prose XXVII, E-BUlh, Ms 11, no 76, f. 73v)

L?aigle, le dragon, la brebis, le lion, le
serpent, le bouf, l?agneau et le ver.
6. Alpha, bovi et leoni / [Domino] 3?49
(Motet III, BUlh, Ms 11, no 83, f. 84v)

Les Vierges prudentes, symbole de pureté et du
Temple de l?Esprit Saint.
7. Virgines egregie Virgines sacrate 4?39
(Prose XXIII, E-BUlh, Ms 11, no 72, f. 67v)

L?aigle, le serpent et le vaisseau passant sans
laisser d?empreinte.
8. Cum sint difficilia Salomoni tria 3?25
(Conductus, École de Notre-Dame, F-Pnm Latin 15139
(St Victor), 270v)

L?astre d?or, les bijoux printaniers, roses,
violettes, safran et laurier, symbole de la Reine
du Ciel.
9. Virgo sidus aureum 14?26
(Prose VIII, E-BUlh, Ms 11, no 57, f. 41)

Le soleil, la lune et les étoiles, symbole de la
lumiere de Marie.
10. O Maria, maris stella / O Maria, Virgo
davitica / [In veritate] 5?39
(Motet XXI, E-BUlh, Ms 11, no 104 f. 102v)

L?auster, vent du sud, symbole de lumiere claire
et brillante.
11. Flavit auster 3?59
(Prose IX, E-BUlh, Ms 11, no 58 f. 45)


THE BESTIARY AND DIVINE SYMBOLS 
Monastery of Santa María la Real de Las Huelgas
(Burgos)

The forest of mysticism is not easily penetrated.
There are no beaten paths. The last veil of
reality cannot be lifted. Mysticism watches and
reveals. 

Raimon Panikkar

In the monastic life of the Cistercian order, as
in the case of the female monastery of Santa María
la Real de Las Huelgas (Burgos), a royal
pantheon, the seat of coronations and the
epicentre of a very intense musical life in which
singing played an extremely important part, the
nuns were called upon to live a life of
simplicity, silence, prayer and contemplation.
Flavit auster, which is part of the Las Huelgas
Codex, is a Marian text inspired in the Song of
Songs in which the most powerful symbols of
femininity appear, such as the honeycomb, milk and
honey, and protectiveness described as 'mother of
mercy, port of hope for the shipwrecked and
virgin mother purified.? We also find these
symbols as early as the 9th century in Islamic and
Jewish spirituality where we are taught the
nature of the journey within, a path of
challenges, knowledge, of the soul?s encounter and
union with God. As St Teresa writes, 'see this
shining castle and this beautiful Oriental pearl,
this tree of life which is planted in the very
living waters of life.?

Along with this fascinating symbolism of the Queen
of Heaven radiant with light among the stars, the
golden star, the sun and the moon, as well as the
image of milk and honey, flowers, the jewels of
Spring, roses, violets, saffron and laurel, in the
Las Huelgas Codex we find many animal symbols of
Christ, as they were present at the dawn of
Christianity. Let us remember the lambs, doves and
fish depicted in the frescoes of the early
Christian catacombs and Byzantine mosaics. The
reality of this world is at once both mystically
reflected and veiled. The roots of Christianity
are to be found in Platonic teaching, and it was
in this philosophical context, which in turn drew
on Egyptian and Hindu wisdom, that the new faith
was born.

The earliest known Christian bestiary, the
Physiologus, was probably written in the 3rd
century in Syria. This fundamental text fed the
imagination of generations of artists and
theologians. The Hispanic Ars antiqua has
preserved many works in which animals are
allegories of faith which merge with the two- or
four-legged companions of medieval man. Alongside
basic Marian symbols such as the eagle, the lamb,
the fish and, of course, the dove, we find other
more surprising creatures such as the 'abominable?
flies, which traditionally accompany the Prince
of Darkness, but also the pelican, a symbol of
Christ?s sacrifice, or the dragon, which
represented the guardian of the frontiers of the
known world. This flame-spitting monster was
initially an image of vigilance and ardour before
being slain by St George and Siegfried.

It is also in this Codex that we find (in the
faux-bourdons of Notre Dame of Paris, and in the
pilgrim songs of the Llibre Vermell of
Montserrat), the earliest multi-voice songs, the
faux-bourdons and the first musical experiments
with independent melodies simultaneously sung
together. It was the beginning of a true
revolution, the Ars nova, which gave rise to a new
musical language and which would be masterfully
developed by great composers such as Philippe de
Vitry and Guillaume de Machaut. At the very moment
when national languages were asserting
themselves, Ars nova marks the moment at which
music became Europe?s true common language.

JORDI SAVALL
Konya, 23rd September, 2022
Translated by Jacqueline Minett

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