The Music of Las Huelgas

From a facsimile edition of the Codex

[DailyMedieval is on semi-hiatus for the holidays, and I am re-cycling some older posts. Today's is new, however, inspired by a music CD I received: Secret Voices by the female a capella group Anonymous 4.]

The Abbey of Santa Maria la Real de Las Huelgas was founded in 1187 by Alfonso VIII of Castile, at the request of his wife, Eleanor of England, the daughter if Henry II an Eleanor of Aquitaine. It was founded on land that was going unused at the time; huelgas meant land that is fallow, although nowadays it is used to refer to "labor strikes."

Its origin granted it many royal privileges: it was exempt from taxes, held many valuable items that belonged to royal families, and became a traditional site for many royal weddings, such as that between Edward I of England and Eleanor of Castile. The monastery became Cistercian in 1199 and the burial sit for the royal family. Two of the first royal burials were the founders, Alfonso VIII and Eleanor of England.

Known for the privileges of its abbess, and for the hospital founded by Alfonso VIII, Las Huelgas gave to the modern world one more fascinating item left over from the Middle Ages: music.

In 1904, while doing research on the origins and development of Gregorian chant, two Benedictine monks found a manuscript in Las Huelgas containing 45 monophonic pieces and 141 polyphonic pieces. They are written on fairly durable parchment in red and black ink with Franconian notation (briefly discussed here and here). The Las Huelgas Codex includes many pieces familiar to scholars, but also pieces that are not recorded elsewhere.

Most of the pieces are from the late 13th century, when it is known that Las Huelgas had a 100-woman choir. We have to assume that, despite the Cistercian rules against the performance of polyphonic music, the choir of Las Huelgas performed these pieces at will, thanks to their royal patronage and privileges (the abbess was allowed for a long time to call synods, confirm abbesses of other monasteries, and even hear confession and grant absolution!).

Here is a recording of the Benedicta et venerabilis II and the Benedicamus dominu, with pictures from the Abbey's architecture and art. Enjoy!

From France to NYC

At the Metropolitan Museum of Art in New York City is an area called The Cloisters. Built in the 1930s, it incorporated elements of several medieval abbeys. Part of the Cloisters comes from the abbey of Saint-Guilhem-le-Désert (picture here), whose founder is the subject of today's post.

William of Gellone (755-814) was a cousin of Charlemagne's and the second count of Toulouse. When Hisham I of Cordoba declared a holy war against the Christians in southern France in 793, William was asked to respond to the threat. William met Hisham's army; he was unable to defeat them, but resisted so strongly that he wore down the invading Moors by attrition and they gave up their attempt to conquer southern France. Some years later, William was part of a large force that re-captured Barcelona. His military exploits are celebrated in literature and legend.

Piece of the True Cross

In 804 he founded a monastery in the valley of Gellone. Later named Saint-Guilhem after him, a village of the same name developed around it. He donated to the abbey a piece of the True Cross that had been a gift to him from Charlemagne. The location of the abbey and its possession of such an important relic made it a popular stopping place on the pilgrimage to Santiago de Compostela.

Two years later, William himself became a monk there. He became well-known as the abbey's benefactor and a pious man; supposedly, upon his death the church bells rang without anyone touching them. His will left even more to the monastery. His legend grew so much that his body was eventually transferred to a spot in the abbey church where it could be seen better.

It was during the French Revolution that the abbey started to suffer; much of it was dismantled. Thanks to the interest and financing of John D. Rockefeller, part of the structures found a new home overlooking the Hudson River in New York.

Battle of the Numbers

Among the accomplishments of Hermann of Reichenau, he also provides us with the set of rules for one of Europe's oldest board games, developed by a monk to teach Boethian number theory, called Rithmomachy or Arithmomachia, "Battle of the Numbers."

The pieces on the rectangular 8x16 board, their "ranks" and their allowed moves are determined by mathematical rules based on their geometry (Circles, Squares, Triangles, Pyramids) and the numbers marked on their surfaces. I could not possibly explain the rules in a short post—nor should I be able to, since the intent was to design a game that truly requires a grasp of mathematical functions and the skill to apply them quickly. Feel free to educate yourselves on the rules here and here.

Laser-etched pieces. [link]

It was more than just a game of strategy like chess (to which it has some resemblance). According to a 2001 book, Rithmomachy

combined the pleasures of gaming with mathematical study and moral education. Intellectuals of the medieval and Renaissance periods who played this game were not only seeking to master the principles of Boethian mathematics but were striving to improve their own understanding of the secrets of the cosmos. [The Philosopher's Game, Anne Moyer]

The game became popular as a teaching aid in monasteries in France and Germany, and even reached England where Roger Bacon recommended it to students at Oxford. Over the centuries it spread as an intellectual pastime, and by the Renaissance it had spread enough that instructions were being printed in French, German, Italian and Latin. Sadly (mercifully?), the game fell out of popularity and the public's consciousness after the 1600s until modern historians re-discovered it.