Feminae Vox

Huelgas Codex. Mediaeval monody and polyphony for a monastery of nuns (s. XII-s. XIV). The Huelgas Codex is the best known book of liturgy and music of the Spanish Middle Ages and a pre-eminent document on the prominent role played by women at this monastery in Burgos. The intrinsic beauty of the compositions is enhanced by a referential performance by Carles Magraner and his ensemble, featuring four female voices and a harp.

OUT OF STOCK – Only digital download availability:


CDM 0826
EAN 13: 8216116208267

Edited : 17/11/2008

Texts: Josemi Lorenzo Arribas

Sound engineering, mixing and edition: Jorge G. Bastidas

Cover: Varnishing chest painted by LIMONGES technique with a majesty virgen. National Archaeological Museum

Graphic design: Annabel Calatayud

Legal Deposit: V-3887-2008

DDD: 72’31”

Download Datasheet PDF

Legal deposit: B-8464-2001

Capella de Ministrers
Carles Magraner, director

Pilar Esteban, mezzosoprano
Marta Infante, mezzosoprano
Erika Escribá-Astaburuaga, soprano
Yolanda Marín, soprano
David Antich, flautas
Carles Magraner, viella
Manuel Vilas, arpa
Ignasi Jordá, órgano portátil, clavisimbalum
Pau Ballester, cítara, tintinnabulum, percusión

1. Promereris sume laudis. Prosa. In Annuntiatione Domini. Instrumental
2. Gaude, chorus omnium [Angelus Domini]. Motete
3. O Monialis Concio Burgensis. Planctus. A la muerte de la Abadesa Agüero
4. Ave caro splendida [Omnes]. Conductus Motete
5. Belial vocatur. Conductus Motete. Presentación del Señor


6. Ex illustri. Motete. Santa Catalina
7. Maria, Virgo Virginum. Prosa. De Santa María
8. Rex obiit. Planctus. A la muerte de Alfonso VIII (+1214)
9. Dum sigillum. Conductus
10. Hec est Mater Domini. Organum. Beatae Mariae Virginis


11. Ad celsi conubia. Prosa. Santa Catalina Instrumental
12. Rex eterne maiestatits. Prosa. Santa María Magdalena
13. Amor vincens/Mariae praeconio [Aptatur]. Motete. Beatae Maríae Virginis
14. Quis dabit capiti meo. Planctus
15. Mulierum hodie/Mulierum. Motete. Santa Ana
16. Fa fa mi/Ut re mi. Ejercicio de solfeo


17. Iam nubes/Iam novum [Solem]. Motete Instrumental
18. O Maria Virgo [In veritate]. Conductus Motete. Beatae Maríae Virginis
19. Plange Castella misera. Planctus. A la muerte del Rey Sancho (+1158)
20. Virgines egregie. Prosa.Común de las Vírgenes
21. Verbum bonum et suave . Organum. Prosa. De Santa María

1 CD – DDD – 72’31”

The so-called Codice de las Huelgas, whose name is due to the famous Cistercian monastery of Burgos in which it is kept, is probably the best known liturgical-musical book of the Hispanic Middle Ages. Compiled at the beginning of the 14th century for the daily use of the offices of that community of religious, it is a truly exceptional piece and not only because of its physical characteristics, as it is copied on humble sheets of parchment of poor quality, something that, without a doubt, draws attention in a monastery whose economic, political and religious preponderance remained unquestionable for centuries; it is also because of its contents, since nearly half of the works collected there (a total of 45 monodic pieces and 141 polyphonic pieces between conductus, conductus-motets and organa, all written in Latin) are not conserved in any other codex. There are few surprises that this enigmatic and superb book contains in its pages. Among the most outstanding we can mention the shocking Planctus written on the occasion of the death of the Castilian kings Sancho I in 1158 (Plange Castella misera), his son Alfonso VIII in 1214 (Rex Obit) and Abbess María González de Agüero in 1335 ( Or Monialis concio burgensis), or the motets Ex illustri and Mulierum hodie / Mulierum dedicated to Santa Catalina and Santa Ana, respectively. Along with the beauty of a sublime and deeply mystical scores, as befits a time when religiousness was flooding all facets of daily life, the interpretations offered by the Capella de Ministrers constitute another point of reference for this recording. outstanding, then to the extensive and recognized experience in the medieval repertoires of its director, Carles Magraner, we must add the beauty of the four female voices, with an impeccable Marta Infante, and the good work of an instrumental cast in which the harp by Manuel Vilas plays a decisive role in transmitting the sweetness and delicacy that many of these compositions require to be understood in their true and deepest dimension.

Francisco de Paula Cañas Gálvez

Additional information

Weight 100 g