1 From Fr. Gerardo Cioffari, o.p. director 25 marzo, 2014 St Nicholas News AT THE ORIGIN OF THE HYMN CONGAUDENTES A paper sent free to the St Nicholas’ friends all around the world, by Fr Gerardo Cioffari, o.p., director of the St Nicholas Research Center in Bari ([email protected]) 62 THE BARI WIDOW A MEDIEVAL LEGEND (OR HISTORY ?) Notary Romuald’s seal. Basilica Archives y. 1107 The most widespread and famous St Nicholas’ hymn in the Middle Ages was the Congaudentes. Scholars say that it is anonymous (see on Internet). And it is true. But a medieval legend could have some historical value and therefore throw a little light into the question. This ancient French legend that got around Europe at the beginning of XIII century attributed its authorship to a musician of Bari of the end of XI century. It’s difficult to say whether it was a pure fantastic creation, or it contains some truth, learned by northern pilgrims going through Bari. The story, narrated in a manuscript preserved in Bruxelles (Ms 1960-62, f. 63 v -66 v ), edited by the Bollandists (Cat. Cod. Hag. Brux. I, 1896, 320-322), takes us back for more than 900 years, in the last decade of XI th century, when Bari was living its magic moment. Few years after the arrival of St Nicholas’ relics to Bari, in this city was composed the most famous western hymn to the Saint: the Congaudentes exultemus, that is: Let’s together all rejoice, singing with one voice, in the great feast of the Blessed Nicholas.
Transcript
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From Fr. Gerardo Cioffari, o.p. director of the Centro Studi Nicolaiani
62 THE BARI WIDOW A MEDIEVAL LEGEND (OR HISTORY ?)
Notary Romuald’s seal.
Basilica Archives y. 1107
The most widespread and famous St Nicholas’ hymn in the Middle Ages was the Congaudentes. Scholars say that it is anonymous (see on Internet). And it is true. But a medieval legend could have some historical value and therefore throw a little light into the question.
This ancient French legend that got around Europe at the beginning of XIII century attributed its authorship to a musician of Bari of the end of XI century. It’s difficult to say whether it was a pure fantastic creation, or it contains some truth, learned by northern pilgrims going through Bari.
The story, narrated in a manuscript preserved in Bruxelles (Ms 1960-62, f. 63v-66v), edited by the Bollandists (Cat. Cod. Hag. Brux. I, 1896, 320-322), takes us back for more than 900 years, in the last decade of XIth century, when Bari was living its magic moment.
Few years after the arrival of St Nicholas’ relics to Bari, in this city was composed the most famous western hymn to the Saint: the Congaudentes exultemus, that is: Let’s together all rejoice, singing with one voice, in the great feast of the Blessed Nicholas.
There was a man of noble birth and good-looking who breathed the air of the top of Helicon, composing verses in marvelous rhymes and metres. In the city of Bari, where St Nicholas had been transferred, this man was leading a school in the very first years after the translation, that is when in Myra the laments for the loss of St Nicholas were not yet away and the signs of the sorrow were about to dissolve in the air, like spirals of smoke after a funeral stake.
In any case this schoolmaster, about whose name the story is silent, became infatuated with a very beautiful Barian widow.
This widow was very rich non only in physical beauty, but also in many goods and properties as well as in moral Christian virtues.
He studied her habits and discovered that almost every evening she went to the church of St Nicholas, and precisely in the underground church or crypt where the Saint’s relics were venerated. Then, he too went to the crypt and, getting close to her, revealed her his love. She rebuked him for choosing such a place for a similar declaration, adding also that it was not the case to insist, given that she had no intention to yield to his requests.
Her words disappointed very much the young and promising musician. However, in spite of the disappointment and deep sadness, he did not lose heart completely, and decided to wait for a favorable occasion. His patience was rewarded. In fact, once the widow invited many important personalities of Bari for a dinner, and he too was invited. While guests were speaking about St Nicholas’ translation, the widow criticized the lack of initiative of the Barian clergy, that had not yet composed any response nor a prose in honor of the Saint.
THE
YOUNG
MUSICIAN
OF BARI
It seems that the music was very much at home in Bari between X and XI century. A clue for this is the epigraph on the tomb of the priest Smaragdus (980 circa): In this casket are resting the limbs of the priest Smaragdus. Be sure you who are reading that he taught the children to sing in a marvelous way. He was hospitable, giving his goods to the poor. He was rector of this church … .
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Concluding her criticism to the clergy, she added that would have given anything to the person who would have composed prayers or hymns worthy of the renown of the Miracle Worker.
We have already mentioned the great talent of which was endowed the young musician. Therefore, is well imaginable with how strong emotion heard that promise made publicly. As soon as he was back at home, he went to his working table and put all his efforts into composing a hymn in honor of St Nicholas. The enthusiasm was supported by the hope that his talent would open the way to satisfy his love passion.
Within few days some music pieces got around the city and everybody praised the beauty of the composition. Many expressed the hope that the entire hymn would be completed.
Even the widow, feeling that at least in part was her merit, in order to boost the ending of the work repeated her promise that she would have given to the musician anything he should have asked.
Spurred by the new promise, the musician composed two liturgical pieces that in little time got around all of Europe: the hymn Congaudentes and the response Confessor Dei Nicolaus.
The music of the two compositions was full of life and enthusiasm. God was using the mouth of a sinner to sing in a marvelous way the virtues and deeds of his servant Nicholas. And the widow too could not avoid uniting herself to the praises that came from everywhere to the musician.
When the name of the musician came out, the widow, remembering their meeting in the crypt, tried to avoid that he would become too confidential with her. But he reminded her of the promise pronounced publicly. When she asked which of her properties he wanted, he answered that desired no goods from her, but only to make love.
Struck by his request, she explained that she did not meant “anything” in the sense he intended.
THE
WIDOW’S
PROMISE
Beginning of the Congaudentes.
Archives Basilica S. Nicola – Bari, Cod. 5
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Noticing his tenacity, she said that accepted to stand by what she had promised, but not for that night. She explained that needed time to prepare things in a way that would avoid that her reputation be ruined.
Very worried by the way things had gone, that evening the widow went as usually to the crypt of St Nicholas. Praying intensely addressed herself to the Virgin and St Nicholas asking forgiveness for her imprudence and
David plays a percussion instrument. Archives of the Basilica
S. Nicola – Bari, Cod. III.81 (Breviary).
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counsel about what she could do to avoid violating the virtue of purity.
While she was praying, Saint Nicholas went to the house of the musician. When he entered, the musician was regretting having given that delay to the widow.
The Saint seized him and yanked him violently throwing him to the ground. Then started whipping him. Surprised and aching all over, the young man asked: Who are you who are treating me this way ? The Saint answered:
I am Nicholas, the Saint for whom you have composed beautiful songs and
proses. But you honor me with your lips, while at the same time you dishonor me with your lust. You should wait a reward not from my faithful widow, but from whom who gave you the gift of music talent.
Deeply shocked by the vision, the musician went to the crypt and, revealing what had happened, asked pardon to the widow.
From that moment both lived a life worthy of the gifts had received, feeling a great devotion toward St Nicholas who had saved their souls.
Beatus vir qui non abiit in consilio impiorum. Breviarium
Parvum. Archives Basilica San Nicola – Bari, cod. X, 39, f. 27.
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Congaudentes. Archives Basilica San Nicola – Bari. Gradual- Prosary,
V.85, f. 288v-290.
Congaudentes exultemus vocali concordia.
Ad beati Nicholai* festiva sollempnia,
Qui in cunis adhuc iacens servando ieiunia,
A papilla** cepit sum[ma ]
* In other manuscripts: Nicolai (equally in the rest of the text);
**In other manuscripts: Ad papillas
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[sum]ma promereri gaudia.
Adolescens amplexatur literarum studia. Alienus et immunis ab omni lascivia.
Felix confessor, cuius fuit dignitatis vox de celo nuntia.
Per quam provectus, presulatus sublimatur ad summa fastigia.
Erat in eius animo pietas eximia, Et oppressis impendebat multa beneficia.
Auro per eum virginum tollitur infamia. Atque patris earundem levatur inopia.
Quidam naute navigantes, et contra fluctuum sevitiam luctantes,
navi pene dissoluta. Iam de vita desperantes in tan[to]
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[tan]to positi periculo, clamantes voce dicunt omnes una:
O beate Nicholae, nos ad portum maris trahe de mortis angustia.
Trahe nos ad portum maris, Tu, qui tot auxiliaris pietatis gratia.
Dum clamarem nec incassum, Ecce, quidam dicens assum ad vestra presidia.
Statim aura datur grata, et tempestas fit sedata, quieverunt maria.
Ex ipsius tumba manat unctionis copia, Que infirmos omnes sanat per eius
suffragia.
Nos qui sumus in hoc mundo vitiorum in profundo, iam passi
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naufragia.
Gloriose Nicholae, ad salutis portum trahe, ubi pax et gloria.
Ipsam nobis unctionem impetret a Domino* prece pia.
Qua sanavit lesionem multorum peccaminum in Maria.
Huius festum celebrantes gaudeant per secula.
Et coronet eos, Deus**, post vite curricula. Amen.
