Symphonie du Jaguar

Highly antagonistic forces structure the thought processes of the ancient Mesoamerican civilisation, for example the contrast between the visible world of the sun and the invisible nocturnal world. In the mythology of the Pre-Columbian civilisation, the jaguar is a frequently represented figure and for the Mayas of the classical period a symbol associated with the underworld. It represents the sun during its nocturnal path through the centre of the world where terrible sacrifices are made in order to nurture the sun and thereby guarantee the alternation between night and day. 

As in all Mesoamerican cultures, the Mayas were obsessed by time and undertook minute observations of the night sky to develop a system of cycles based on the phases of the three principle celestial bodies: the sun, the moon and the planet Venus. The cycles were structured in a series of turning wheels synchronising particular dates for special celebrations and also served to ward off fears that the end of the world was near. 

The Symphonie du Jaguar also makes reference to the cyclical passage of time and the path of the sun: Kin – in its appearance as the day star and also in the form of a red jaguar during its passage through the centre of the earth until it is reborn as the sun. The five points of the compass – East, West, North, South and centre – are symbolised by instrumental soloists (clarinet, trombone, violin and violoncello) and a female choir, the latter representing the centre (at the end of the work, the clarinet and trombone formulate appeals in all five directions). 

In the first movement, the choir sings the calendrical predictions of days in the language of the Maya. These predictions are introduced by a steadily increasing background of nature sounds with onomatopoeic animal and bird names in the languages of Maya-Tzeltal and Maya-Lacandon. The natural sounds represent the Ik, the wind epitomising the breath of life, life itself and germination. 

The second movement is devoted to astral bodies. Alongside the names of the days, we find the names of the celestial bodies: Kin (sun), Noh Ek (Venus), Xaman Ek (Milky Way) etc. The Mayan words create a magical and prophetic colouration. 

A feast of the underworld is presented in the third movement: concha calls (conch horns), dances and sacrificial offerings (in Ancient Mexico, sacrifices were not prompted by feelings of guilt, but out of the vital necessity of providing the sun with energy. The continuation of its periodic cycle was guaranteed by gifts of human blood). 

The fourth movement represents a journey through the underworld. The text extract from the Chilam Balam (the book of prophecies which was only written down by Mayan Indians after the Spanish Conquest to preserve as much as possible of their culture) illustrates the cyclical concept of time. Contemporary events which had been prophesised by the foretellers of the past serve to predict comparable events in the future.

Thierry Pécou