The Cherubikon (Koine Greek: χερουβικόν) is the usual Cherubic Hymn (Koine Greek: χερουβικὸς ὕμνος, Church Slavonic ) sung at the Great Entrance of the Byzantine Rite Divine Liturgy.
History
Origin
The cherubikon was added as a troparion to the
Divine Liturgy under Emperor
Justin II (565–578) when a separation of the room where the gifts are prepared from the room where they are consecrated made it necessary that the Liturgy of the Faithful, from which those not baptised had been excluded, start with a procession.
[Brightman (1896, p. 532, n. 9).] This procession is known as the
Great Entrance, because the celebrants have to enter the choir by the altar screen, later replaced by the
iconostasis. The hymn symbolically incorporates those present at the liturgy into the presence of the angels gathered around God's throne.
[Parry (1999), p. 117.]
The chant genre
Offertory in traditions of Western plainchant was basically a copy of the Byzantine custom, but there it was a proper mass chant which changed regularly.
[Latin sources since the 10th century transliterate the Greek cherubikon (see the sacramentary of Düsseldorf: D-DÜl Ms. D2), but also translated it into Latin as part of the so-called Missa greca which had been the proper chant for Pentecost at the Royal Abbey of Saint Denis (F-Pn lat. 976 and gr. 375). In all these sources it had been rubrified as "offertorium" ( Of) which had been a soloistic chant genre.]
Although its liturgical concept already existed by the end of the 4th century (see the homily by Chrysostom quoted here), the cherubikon itself was created 200 years later due to a change in sacred architecture. The Great Entrance as a ritual act is needed for a procession with the Gifts while simultaneous prayers and ritual acts are performed by the clergy. As the processional troparion, the cherubikon has to bridge the long way between prothesis, a room to north of the central apse, and the sanctuary which had been separated by changes in sacred architecture under Emperor Justin II. The cherubikon is divided into several parts.[For a detailed list of all simultaneous ritual acts and the particular celebration at the Hagia Sophia cathedral see Moran (1979, 175-177).] The first part is sung before the celebrant begins his prayers, there were one or two simultaneous parts, and they all followed like a gradual ascent in different steps within the Great Entrance. Verses 2-5 were sung by a soloist (in ) from the ambo.[The conclusion with the last words of verse 5 and the allelouiarion are sung in dialogue with the domestikos and the soloist. The notated sources (which had survived since the end of the 12th century) clearly separate the part of the monophonaris which was recorded in the specialist psaltikon, as opposed to the asmatikon used by the other choristers.]
Liturgical use
Concerning the text of the processional
troparion which was ascribed to
Justin II, it is not entirely clear, whether "thrice-holy hymn" did refer to the
Sanctus of the Anaphora or to another hymn of the 5th century known as the
trisagion in Constantinople, but also in other liturgical traditions like the Latin
Gallican Rite and
Ambrosian Rite rites.
Concerning the old custom of Constantinople, the trisagion was used as a troparion of the third antiphonon at the beginning of the divine liturgy as well as of
Vespers.
In the West, there were liturgical customs in Spain and France, where the trisagion replaced the great doxology during the Holy Mass on lesser feasts.
[See the evidence in a homiletic explanation of the Old Gallican Liturgy by Pseudo-Germanus (1998).]
The troparion of the great entrance (at the beginning of the second part of the divine liturgy which excluded the ) was also the prototype of the genre Offertory in Western plainchant, although its text only appears in the particular custom of the Missa graeca celebrated on Pentecost and during the patronal feast of the Royal Abbey of Saint Denis, after the latter's vita became associated with Pseudo-Dionysios Areopagites. According to the local bilingual custom the hymn was sung both in Greek and in Latin translation.
Today, the separation of the prothesis is part of the early history of the Constantinopolitan rite ( akolouthia asmatike). With respect to the Constantinopolitan customs there are many different local customs in Orthodox communities all over the world and there are urban and monastic choir traditions in different languages into which the cherubikon has been translated.
Exegetic tradition of Isaiah
The
trisagion or thrice-holy hymn which was mentioned by
John Chrysostom, could only refer to the
Sanctus of the Anaphora taken from the Old Testament, from the book of the prophet
Isaiah in particular (6:1-3):
In a homily John Chrysostom interpreted Isaiah and the chant of the divine liturgy in general (neither the cherubikon nor the trisagion existed in his time) as an analogue act which connected the community with the eternal angelic choirs:
The anti-cherubika
The cherubikon belongs to the ordinary mass chant of the divine liturgy ascribed to John Chrysostom, because it has to be sung during the year cycle, however, it is sometimes substituted by other troparia, the so-called "anti-cherubika", when other formularies of the divine liturgy are celebrated.
On
Maundy Thursday, for example, the cherubikon was, and still is, replaced by the troparion
"At your mystical supper" (Τοῦ δείπνου σου τοῦ μυστικοῦ) according to the liturgy of Saint Basil, while during the Liturgy of the Presanctified the troparion
"Now the powers of the heavens" (Νῦν αἱ δυνάμεις τῶν οὐρανῶν) was sung, and the celebration of
Prote Anastasis (
Holy Saturday) uses the troparion from the Liturgy of St. James,
"Let All Mortal Flesh Keep Silence" (Σιγησάτω πᾶσα σὰρξ βροτεία). The latter troparion is also used occasionally at the consecration of a church.
Text
In the current traditions of Orthodox chant, its Greek text is not only sung in older translations such as the one in Old Church Slavonic or in Georgian, but also in Romanian and other modern languages.
In the Greek text, the introductory clauses are Participle, and the first person plural becomes apparent only with the verb ἀποθώμεθα "let us lay aside". The Slavonic translation mirrors this closely, while most other translations introduce a finite verb in the first person plural already in the first line (Latin imitamur,
Georgian vemsgavsebit,
Romanian închipuim "we imitate, represent").
- Greek
- Οἱ τὰ χερουβὶμ μυστικῶς εἰκονίζοντες
- καὶ τῇ ζωοποιῷ τριάδι τὸν τρισάγιον ὕμνον προσᾴδοντες
- πᾶσαν τὴν βιωτικὴν ἀποθώμεθα μέριμναν
- Ὡς τὸν βασιλέα τῶν ὅλων ὑποδεξόμενοι
- ταῖς ἀγγελικαῖς ἀοράτως δορυφορούμενον τάξεσιν
- ἀλληλούϊα ἀλληλούϊα ἀλληλούϊα
[Brightman, ed. (1896, 377 & 379).]
- 10th-century Latin transliteration of the Greek text
- I ta cherubin mysticos Iconizontes
- ke ti zopion triadi ton trisagyon ymnon prophagentes
- passa nin biotikin apothometa merinnan
- Os ton basileon ton olon Ipodoxomeni
- tes angelikes aoraton doriforumenon taxasin
- alleluia.
[Transliteration according to the Carolingian sacramentary of the 10th century (D-DÜl Ms. D2, f. 203v). About the particular orthography of the Latin transliteration and different medieval text versions of the Greek cherubikon (Wanek 2017, 97; Moran 1979, 172-173).]
- Latin
- Qui cherubin mystice imitamur
- et vivifice trinitati ter sanctum ẏmnum offerimus
- Omnem nunc mundanam deponamus sollicitudinem
- Sicuti regem omnium suscepturi
- Cui ab angelicis invisibiliter ministratur ordinibus
- ALLELUIA
[Quoted after the source British Library Ms. Harley 3095, f. 111v.]
- English translation
- We who mystically represent the Cherubim,
- and who sing to the Life-Giving Trinity the thrice-holy hymn,
- let us now lay aside all earthly cares
- that we may receive the King of all,
- escorted invisibly by the angelic orders.
- Alleluia
[Raya (1958, p. 82).]
- Church Slavonic
- ї҆́же херꙋвї́мы та́йнѡ ѡ҆бразꙋ́юще,
- и҆ Животворѧ́щей тро́ицѣ Трисвѧтꙋ́ю пѣ́снь припѣва́юще,
- всѧ́кое ны́нѣ жите́йское ѿложи́мъ попече́нїе.
- Ꙗ҆́кѡ да царѧ̀ всѣ́хъ подымемъ,
- ангельскими неви́димѡ дорѷноси́ма чи́нми.
- Аллилꙋ́іа
[Херувимска пҍцнь отъ Иона Кукузеля (Sarafov 1912, 203-210). Examples of the Bulgarian tradition are the Cheruvimskaya Pesn sung by the Patriarch Neofit (monodic tradition) and the so-called "Bělgarskiy Razpev", closely related to Ukrainian and Russian traditions (Starosimonovskiy Rozpev, Obihodniy Rozpev, or several arrangements by more or less known composers of the 19th and 20th centuries etc.).]
- Transliterated Church Slavonic
- Íže heruvímy tájnō ōbrazujúšte,
- i životvoręštej Tróicě trisvętúju pěsňĭ pripěvájúšte,
- Vsękoje nýňě žitéjskoje otložimŭ popečenìe.
- Jákō da Carę vsěhŭ podŭimemŭ,
- ángelĭskimi nevídimō dorỳnosíma čínmi.
- Allilúia
[The variant “je” (transcription for ѥ instead of е) is common for the early sources of the East Slavic territory (Kievan Rus').]
- Georgian
- რომელნი ქერუბიმთა საიდუმლოსა ვემსგავსებით,
- და ცხოველსმყოფელისა სამებისა, სამგზის წმიდასა გალობასა შენდა შევწირავთ,
- ყოველივე აწ სოფლისა დაუტეოთ ზრუნვა.
[See the transcription of the cherubikon by the Chant Center of the Georgian Patriarchate sung according to the tradition of the Gelati monastery: According to the school of Vasili and Polievktos Karbelashvili (John Graham about the transcription movement): A third version with a female Ensemble: ]
- და ვითარცა მეუფისა ყოველთასა,
- შემწყნარებელსა ანგელოსთაებრ უხილავად, ძღვნის შემწირველთა წესთასა.
- ალილუია, ალილუია, ალილუია.
[Second part of the cherubikon sung according to the tradition of the Gelati monastery: Another tradition:]
From a traditionalist point of view the cherubikon has an outsider position within the repertoire, because Georgian hymnography was always oriented to the Patriarchate of Jerusalem and much less to the Ecumenical Patriarchate of Constantinople and its local divine liturgies. Thus, there are no medieval sources with the text in Nuskhuri script, but the living polyphonic tradition was transcribed into staff notation since the 19th century. The text quoted here follows the notated editions of the Anchiskati Church Choir, the official academic choir of the Georgian Patriarchate in Tbilisi.
- Transliterated Georgian
- romelni qerubimta saidumlosa vemsgavsebit,
- da tskhovelsmq'opelisa samebisa, samgzis ts'midasa galobasa shenda shevts'iravt,
- q'ovelive ats' soplisa daut'eot zrunva.
- da vitartsa meupisa q'oveltasa,
- shemts'q'narebelsa angelostaebr ukhilavad, dzghvnis shemts'irvelta ts'estasa.
- aliluia, aliluia, aliluia
- Romanian
- Noi, care pe heruvimi cu taină închipuim,
- Şi făcătoarei de viaţă Treimi întreit-sfântă cântare aducem,
- Toată grija cea lumească să o lepădăm.
- Ca pe Împăratul tuturor, să primim,
- Pe Cel înconjurat în chip nevăzut de cetele îngereşti.
- Aliluia, aliluia, aliluia.
Text quoted according
Orthodox wiki.
The notated chant sources
Due to the destruction of
Byzantine music manuscripts, especially after 1204, when Western crusaders expelled the traditional cathedral rite from Constantinople, the chant of the cherubikon appears quite late in the musical notation of the monastic reformers, within liturgical manuscripts not before the late 12th century. This explains the paradox, why the earliest notated sources which have survived until now, are of Carolingian origin. They document the Latin reception of the cherubikon, where it is regarded as the earliest prototype of the mass chant genre offertorium, although there is no real procession of the gifts.
The Latin cherubikon of the "Missa greca"
The oldest source survived is a
sacramentary ("Hadrianum") with the so-called "Missa greca" which was written at or for the liturgical use at a
Stift of
(
Essen near
Aachen).
[D-DÜl Ms. D2, f. 203v. "Hadrianum" is called the sacramentary which was sent by Pope Adrian I, after Charlemagne asked for the one of Gregory the Great.] The transliterated cherubikon in the center like the main parts of the Missa greca were notated with paleofrankish
between the text lines. Paleofrankish neumes are adiastematic and no manuscripts with the Latin cherubikon have survived in diastematic neumes. Nevertheless, it is supposed to be a melos of an E mode like the earliest Byzantine cherubika which have the main intonation of echos plagios deuteros.
[The cherubikon according to the version of manuscript British Library Ms. Harley 3095 has been reconstructed by Oliver Gerlach (2009, pp. 432-434). A reconstruction of the melody in Ms. D2 (D-DÜl) was done by Marcel Pérès in collaboration with the Orthodox protopsaltes Lycourgos Angelopoulos.]
In this particular copy of the Hadrianum the "Missa greca" was obviously intended as proper mass chant for Pentecost, because the cherubikon was classified as offertorium and followed by the Greek Sanctus, the convention of the divine liturgy, and finally by the communio "Factus est repente", the proper chant of Pentecost. Other manuscripts belonged to the Abbey Saint-Denis, where the Missa greca was celebrated during Pentecost and in honour of the patron within the festal week (octave) dedicated to him.[Michel Huglo (1966) described the different sources of the cherubikon with musical notation, a Greek mass was held for Saint Denis at the abbey of Paris, the Carolingian mausoleum. Since the patron became identified with the church father Pseudo-Dionysius the Areopagite in the time of Abbot Hilduin, when Byzantine legacies had been received to improve the diplomatic relationship between Louis the Pious and Michael II, a Greek mass was held to honour the patron. The services were supposed to be celebrated in Greek and Latin, see the Ordo officii of Saint-Denis (F-Pn lat. 976, f. 137) and the Greek Lectionary (F-Pn gr. 375, ff. 153r-154r, 194v).] Sacramentaries without musical notation transliterated the Greek text of the cherubikon into Latin characters, while the books of Saint-Denis with musical notation translated the text of the troparion into Latin. Only the Hadrianum of Essen or Korvey provided the Greek text with notation and served obviously to prepare cantors who did not know Greek very well.
The cherubikon asmatikon
In the tradition of the cathedral rite of the
Hagia Sophia, there was only one melody in the E mode (echos plagios devteros, echos devteros), which has survived in the Asmatika (choir books) and, in a complete form, as "cherouvikon asmatikon" in the books Akolouthiai of the 14th and 15th century.
Νεανες of echos devteros,
Akolouthiai manuscript about 1400 (A-Wn Theol. gr. 185, f. 255v)]]
In this later elaboration, the domestikos, leader of the right choir, sings an intonation, and the right choir performs the beginning until μυστικῶς. Then the domestikos intervenes with a kalopismos over the last syllable το—το and a teretismos (τε—ρι—ρεμ). The choir concludes the kolon with the last word εἰκονίζοντες. The left choir is replaced by a soloist, called "Monophonaris" (μονοφωνάρις), presumably the lampadarios or leader of the left choir. He sings the rest of the text from an ambo. Then the allelouia (ἀλληλούϊα) is performed with a long final teretismos by the choir and the domestikos.[Konstantinos Terzopoulos (2009) confronted the editions which Konstantinos Byzantios (ca. 1777–1862) and Neofit Rilski both published of the typikon of Constantinople, with sources of the mixed rite during the Palaiologan dynasty. One of the manuscripts he used to illustrate is an Akolouthiai of the 15th century which has two cherouvika asmatika, the first by Michael Aneotos the Domestikos and the second a shorter Constantinopolitan (politikon) and Thessalonikan realisation (GR-An Ms. 2406, ff.236v-239r; 240r-242r).]
The earlier asmatika of the 13th century only contain those parts sung by the choir and the domestikos. These asmatic versions of the cherubikon are not identical, but composed realizations, sometimes even the name of the cantor was indicated.[See the transcriptions by Neil Moran (1975).] Only one manuscript, a 14th-century anthology of the asma, has survived in the collection of the Archimandritate Santissimo Salvatore of Messina (I-ME Cod. mess. gr. 161) with the part of the psaltikon. It provides a performance of the monophonaris together with acclamations or antiphona in honour of the Sicilian King Frederick II and can be dated back to his time.[Moran (1979).]
The cherubikon palatinon
Another shorter version, composed in the echos plagios devteros without any teretismoi, inserted sections with abstract syllables, was still performed during celebrations of the imperial court of Constantinople by the choir during the 14th century.
[GR-An Ms. 2458, ff. 165v-166r nearly (Akolouthiai written in 1336).] A longer elaboration of the cherubikon palatinon attributed to "
John Koukouzeles" was transcribed and printed in the chant books used by protopsaltes today.
[A Greek (Kyriazides 1896, pp. 278-287) and a Bulgarian Anthology (Sarafov 1912, pp. 203-210).]
Papadic cherubikon cycles
Today the common practice is to perform the cherubikon according to the echos of the week (octoechos). One of the earliest sources with an octoechos cycle is an Akolouthiai manuscript by Manuel Chrysaphes (
Iveron Ms. 1120) written in 1458. He had composed and written down an own cycle of 8 cherubika in the papadic melos of the octoechos.
[Cappela Romana (1 February 2013) under direction of Alexander Lingas sings Manuel Chrysaphes' echos protos version with its teretismoi based on a transcription of Iveron 1120 by Ioannis Arvanitis and in the simulated acoustic environment of the Hagia Sophia.]
Until the present day the protopsaltes at the Patriarchate of Constantinople are expected to contribute their own realization of the papadic cycles.[Listen to Thrasyvoulos Stanitsas (1961) who sings his own version of the cherubikon for the echos plagios protos. A huge collection of realisations from different periods had been published by Neoklis Levkopoulos at Psaltologion (2010).] Because the length of the cherubikon was originally adapted to the ritual procession, the transcriptions of the print editions according to the New Method are distinct between three cycles. A short one for the week days (since the divine liturgy became a daily service), a longer one for Sundays, and an elaborated one for festival occasions, when a bishop or abbot joined the procession.
Notes
Sources
Editions
Studies
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Presentation (move the cursor on the left side to navigate between the slides).
External links
Georgian Chant
Old Slavonic Cherubim Chant
Papadic Cherubika
