The night of December 24th is a very special night because you can enjoy the Song of the Sibyl, Intangible Heritage of Humanity (UNESCO) and one of the oldest artistic expressions in the Mediterranean.
The Grandma has never missed this appointment. Whether for many years in Santa Maria del Mar or the church of Bonanova in Barcelona, in the cathedral of Palma or even in the Cattedrale dell’Immacolata Concezione in l'Alguer, but this year she had the opportunity, with her friends, to listen to it in one of the most magical and impressive places: the crypt of the Sagrada Família in Barcelona.
In times where there are attempts to erase traditions and attack culture so fiercely, the Sibyl always rises as the voice of all humanity, appealing to with a truth that is above time and gender and making a direct appeal to conscience.
You don't have to be a believer to enjoy this majestic song that reminds us that everyone will pay for their actions: the just and the unjust.
Bon Nadal / Merry Christmas
El jorn del judici parrà el qui haurà fet servici. Jesucrist, Rei Universal, homo i ver Déu eternal, del cel vindrà per jutjar i a cada un lo just darà.
Ans que el judici no serà, un gran senyal se mostrarà: La terra gritarà suor i tremirà de gran paor.
Terratrèmol tan gran serà que les torres derrocarà; les pedres per mig se rompran i les muntanyes se fondran.
Los puigs i plans seran igual. Allà seran los bons i mals. Reis, ducs, comtes i barons, que de sos fets retran raons.
Gran foc del cel devallarà mar, fonts i rius tot cremarà. Los peixos donaran gran crit, perdent son natural delit.
El sol perdrà la claretat, mostrant-se fos i alteral; la lluna no darà claror i tot lo món serà tristor.
Humil verge qui haveu parit Jesus infant en esta nit, vullau a vòtron Fill pregar que de l'infern vulga'ns lliurar.
El jorn del judici parrà el qui haurà fet servici.
El jorn del judici parrà el qui haurà fet servici.
December, 24 and The Grandma continues practising one of her most favourite cultural events, The Song of the Sybil. Due to the COVID19, this year is not possible to listen to this liturgical drama in Barcelona, but The Grandma wants to talk again about it, and about its great meaning and cultural importance.
The Song of the Sibyl, in Catalan El Cant de la Sibil·la, is a liturgical drama and a Gregorian chant, the lyrics of which comprise a prophecy describing the Apocalypse, which has been performed in churches on Mallorca in Balearic Islands, Alghero in Sardinia, and some Catalan churches, in the Catalan language on Christmas Eve nearly uninterruptedly since medieval times.
It was declared a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO on 16 November 2010.
The Grandma has finished her travel on The Orient Express. This morning she has arrived to Strasbourg where she has taken a plane to Barcelona, via Palma.
The Orient Express continues to Paris, Calais and London but The Grandma has returned to Barcelona because today is Christmas Eve and she has a meeting in the Church of Sant Gervasi i Protasi in Bonanova in Barcelona. She's going to listen The Song of the Sibyl sung by Maria del Mar Bonet.
The Song of the Sibyl, in Catalan El Cant de la Sibil·la, is a liturgical drama and a Gregorian chant, the lyrics of which compose a prophecy describing the Apocalypse, which has been performed at some churches of Majorca in Balearic Islands, Alghero in Sardinia and some Catalan churches, in Catalan language on Christmas Eve nearly uninterruptedly since medieval times. The Song of the Sibyl is also sung in Naples in Campania and Marseille in Provence. It was declared a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO on November 16, 2010.
Several versions, differing in text and music, exist:
-Latin Sibyl, from 10th-11th century, which incorporates fragments of The City of God (XVIII, 23) by St. Augustine.
-Provençal Sibyl, from the 13th century, reflecting influence of troubadour poetry.
-Catalan Sibyl. The latest and most ornamented version. Incorporates popular traditions of Balearic Islands. Refrain of this version is sometimes written for three or four voices.
Delphic Sibyl by Michelangelo
The author of The Song of the Sibyl is unknown. The prophecy was first recorded as an acrostic poem in Greek by bishop Eusebius of Caesarea and later translated into Latin by Saint Augustine in The City of God. It appeared again in the 10th century in different locations across Catalonia, Italy, Castile, and France in the Sermon contra Judeos, later inserted into the reading of the sixth lesson of the second nocturn of matins and was performed as an integral part of the liturgy.
This chant was originally sung in Latin and under the name of Judicii Signum, but from the 13th on, versions in Catalan are found.
These early Catalan versions of the Judici Signum were not directly translated from Latin. Instead, they all come from a previous adaptation in Provençal, which proves the huge popularity this song must have had in the past.
Amongst the Catalan texts which come from this common root, there is a 14th-century Codex kept in the Archives of the Majorcan Diocese, which was rediscovered in 1908. Oral transmission and the lack of written scripts has caused the various old texts in the vernacular to suffer many modifications over time, which has led to a diversity of versions.
The Song of the Sibyl was almost totally abandoned throughout Europe after the Council of Trent, held in 25 sessions from 1545 to 1563, declared its performance was forbidden. Nevertheless, it was restored on Mallorca as soon as in 1575.
The Grandma in Sant Gervasi i Protasi, Bonanova
Originally, The Song of the Sibyl was sung in a Gregorian melody and, as it can be seen in the codex previously mentioned, the musical accompaniment that was played in Majorca, with the exception of some variations, was the same documented in other places across the Iberian Peninsula. Today, it cannot be ascertained when The Song of the Sibyl was sung to this Gregorian melody, but most likely until the 16th or 17th century.
Oral transmission of the song caused, as it did with the text, the birth of different variations and models. The interest this chant produced amongst early Musicologists and Folklorists of the 19th century led to the transcription of the different known versions of the song. The versions still played nowadays take these transcriptions as model.
In the Renaissance, the Gregorian melody of the Song was set to polyphonic music by various composers, a common practice during that period. Two of these works, both for four voices, can be found in the Cancionero de la Colombina, a Spanish manuscript from the second half of the 15th century. The text in them is an abridged version of the Song, in the Castilian language.
The song was originally sung by a Presbyter, although this figure was later replaced by a boy. Even though the Song is supposed to be sung by a Sibyl woman, prophetess, for many centuries women were not allowed to sing in church.
Maria del Mar Bonet & Lautaro Rosas
Today, in most temples in which the song is interpreted, it is still sung by a boy, although in some cases it is sung by either a little girl or a woman. In the performance, the singer walks up to the Altar escorted by two or more altar boys carrying wax candles. Once there, the singer greets the crucifix, turns around, and begins the song. The song is sung a cappella and in a solo voice. In some churches, organ music or either modern choral interludes are introduced between one verse and the next.
The costume used to perform the song is rather similar in all churches, at least around Majorca, where it is performed. It consists of a white or coloured tunic, sometimes embroidered around the neck and the hem, and usually, a cape, which is sometimes replaced with a second tunic. The head is covered with a cap of the same colour. The singer holds a sword in his hands, which is held erect during the whole song. Once the song is over, the singer draws a cross in the air with the sword, turns around to the crucifix once again, usually bows, and afterwards is escorted away from the altar by the same boys.
The song starts with an introduction, the melody of which differs from the rest of the song. In some performances, the song ends with the introductory melody as well.
The text is not standard, but late Medieval Catalan. Some verses are attributed to the 14th-century Mallorcan writer, Anselm Turmeda, who translated into Catalan the Judicii Signum, Book of the Final Judgement, on which the composition is based.
A Catalan version was recorded by Maria del Mar Bonet in 1979 on her album Saba de terrer, and by the vocal ensemble Obsidienne in 1995.
Great fire from the heaven will come down; seas, fountains and rivers, all will burn. Fish will scream loudly and in horror losing their natural delights.
