The cherubikon was added as a troparion to theDivine Liturgy under EmperorJustin 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 theLiturgy of the Faithful, from which those not baptised had been excluded, start with a procession.[1] This procession is known as theGreat Entrance, because the celebrants have to enter the choir by the altar screen, later replaced by theiconostasis. The hymn symbolically incorporates those present at the liturgy into the presence of the angels gathered around God's throne.[2]The chant genreoffertorium in traditions of Western plainchant was basically a copy of the Byzantine custom, but there it was aproper mass chant which changed regularly.[3]
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 betweenprothesis, a room to north of the centralapse, and the sanctuary which had been separated by changes in sacred architecture under EmperorJustin II. The cherubikon is divided into several parts.[4] 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 (inMedieval Greek:μονοφωνάρης,romanized: monofonaris,lit. '"single voice"') from theambo.[5]
Concerning the text of the processionaltroparion which was ascribed toJustin II, it is not entirely clear, whether "thrice-holy hymn" did refer to theSanctus of theAnaphora or to another hymn of the 5th century known as thetrisagion in Constantinople, but also in other liturgical traditions like the LatinGallican andMilanese 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 ofhesperinos.In the West, there were liturgical customs in Spain and France, where the trisagion replaced thegreat doxology during the Holy Mass on lesser feasts.[6]
The troparion of the great entrance (at the beginning of the second part of the divine liturgy which excluded thecatechumens) was also the prototype of the genreoffertorium 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 theRoyal Abbey of Saint Denis, after the latter's vita became associated withPseudo-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.
Thetrisagion or thrice-holy hymn which was mentioned byJohn Chrysostom, could only refer to theSanctus of theAnaphora taken from the Old Testament, from the book of the prophetIsaiah in particular (6:1-3):
[1] And it came to pass in the year in which king Ozias died, that I saw the Lord sitting on a high and exalted throne, and the house was full of his glory. [2] And seraphs stood round about him, each one had six wings, and with two they covered their face, and with two they covered their feet, and with two they flew. [3] And one cried to the other, and they said "Holy, holy, holy is the Lord of hosts! The whole earth is full of His glory!"
In a homily John Chrysostom interpretedIsaiah 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:
On high, the armies of angels give glory; below, men, standing in church forming a choir, emulate the same doxologies. Above, the Seraphim declaim the thrice-holy hymn; below, the multitude of men sends up the same. A common festival of the heavenly and the earthly is celebrated together; one Eucharist, one exultation, one joyful choir.
The cherubikon belongs to the ordinary mass chant of thedivine 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. OnHoly Thursday, for example, the cherubikon was, and still is, replaced by the troparion"At your mystical supper" (Τοῦ δείπνου σου τοῦ μυστικοῦ) according to theliturgy of Saint Basil, while during theLiturgy of the Presanctified the troparion"Now the powers of the heavens" (Νῦν αἱ δυνάμεις τῶν οὐρανῶν) was sung, and the celebration ofProte Anastasis (Holy Saturday) uses the troparion from theLiturgy 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.[2]
In the current traditions of Orthodox chant, its Greek text is not only sung in older translations such as the one inOld Church Slavonic or inGeorgian, but also inRomanian and other modern languages.
In the Greek text, the introductory clauses areparticipial, and thefirst 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 (Latinimitamur,Georgianvemsgavsebit, Romanianînchipuim "we imitate, represent").
Due to the destruction ofByzantine 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.
Latin cherubikon (early 11th century) added to a 10th-century anthology dedicated to Boethius (GB-Lbl Ms.Harley 3095, f. 111v).
The oldest source survived is asacramentary ("Hadrianum") with the so-called "Missa greca" which was written at or for the liturgical use at aStift ofcanonesses (Essen nearAachen).[19] The transliterated cherubikon in the center like the main parts of the Missa greca were notated with paleofrankishneumes 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 ofechos plagios deuteros.[20]
In this particular copy of the Hadrianum the "Missa greca" was obviously intended as proper mass chant forPentecost, because the cherubikon was classified asoffertorium and followed by the Greek Sanctus, the convention of the divine liturgy, and finally by thecommunio "Factus est repente", the proper chant of Pentecost. Other manuscripts belonged to theAbbey Saint-Denis, where the Missa greca was celebrated duringPentecost and in honour of the patron within the festal week (octave) dedicated to him.[21] 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.
In the tradition of the cathedral rite of theHagia 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.
Beginning of the cherubikon asmatikon inechos plagios devteros with medialenechemaΝεανες ofechos devteros, Akolouthiai manuscript about 1400 (A-WnTheol. gr. 185, f. 255v)
In this later elaboration, thedomestikos, 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 thelampadarios 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.[22]
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.[23] Only one manuscript, a 14th-century anthology of the asma, has survived in the collection of theArchimandritate Santissimo Salvatore ofMessina (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 KingFrederick II and can be dated back to his time.[24]
Another shorter version, composed in theechos 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.[25] A longer elaboration of the cherubikon palatinon attributed to "John Koukouzeles" was transcribed and printed in the chant books used by protopsaltes today.[26]
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 byManuel Chrysaphes (GR-AOi Ms. 1120) written in 1458. He had composed and written down an own cycle of 8 cherubika in thepapadic melos of the octoechos.[27]
Until the present day the protopsaltes at thePatriarchate of Constantinople are expected to contribute their own realization of the papadic cycles.[28] 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.
^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.
^For a detailed list of all simultaneous ritual acts and the particular celebration at theHagia Sophia cathedral see Moran (1979, 175-177).
^The conclusion with the last words of verse 5 and theallelouiarion are sung in dialogue with thedomestikos and the soloist. The notated sources (which had survived since the end of the 12th century) clearly separate the part of themonophonaris which was recorded in the specialistpsaltikon, as opposed to theasmatikon used by the other choristers.
^See the evidence in a homiletic explanation of the Old Gallican Liturgy by Pseudo-Germanus (1998).
^Classical Septuagint translation of the Old Testament."Isaiah 6".myriobiblos.gr (in Greek). Library of the Church of Greece.
^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).
^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.).
^The variant “je” (transcription for ѥ instead of е) is common for the early sources of the East Slavic territory (Kievan Rus').
^Second part of the cherubikon sung according to the tradition of the Gelati monastery:"Second part of the Georgian cherubikon (school of Gelati Monastery)". Anchiskhati Church Choir.Archived from the original on 2021-12-21. Another tradition:"Second part of the Georgian cherubikon (school of Karbelashvili)". Anchiskhati Church Choir.Archived from the original on 2021-12-21.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.
^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 byMarcel Pérès in collaboration with the Orthodox protopsaltesLycourgos Angelopoulos.
^Michel Huglo (1966) described the different sources of the cherubikon with musical notation, a Greek mass was held forSaint Denis at the abbey of Paris, the Carolingian mausoleum. Since the patron became identified with the church fatherPseudo-Dionysius the Areopagite in the time of AbbotHilduin, when Byzantine legacies had been received to improve the diplomatic relationship betweenLouis the Pious andMichael II, a Greek mass was held to honour the patron. The services were supposed to be celebrated in Greek and Latin, see theOrdo officii of Saint-Denis (F-Pn lat.976, f. 137) and the Greek Lectionary (F-Pn gr.375, ff. 153r-154r, 194v).
^Konstantinos Terzopoulos (2009) confronted the editions which Konstantinos Byzantios (ca. 1777–1862) andNeofit 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 twocherouvika 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).
^Cappela Romana (1 February 2013) under direction of Alexander Lingas singsManuel Chrysaphes' echos protos version with its teretismoi based on a transcription of Iveron 1120 by Ioannis Arvanitis and in the simulated acoustic environment of theHagia Sophia.
^Listen to Thrasyvoulos Stanitsas (1961) who sings his own version of the cherubikon for theechos plagios protos. A huge collection of realisations from different periods had been published by Neoklis Levkopoulos at Psaltologion (2010).
Ruotbert."London, British Library, Ms. Harley 3095".Glossed anthology dedicated to the death of Boethius and his "De consolatione philosophiae" and a sequentiary, probably written in Cologne (late 10th century), one folio was added after the first part with a resurrection mass, using the symbolum Athanasium and the Latin cherubikon (early 11th century).
"Athens, National Library of Greece [Ethnike Vivliotheke tes Hellados], Ms. 2406".Akolouthiai (f.21r: Ἀκολουθίαι συντεθειμέναι [...]γαλαιόντε καὶ νεχ ἀπὸ τῆς ἀρχῆς τοῦ μεγάλου ἑσπερινοῦ μέχρι καὶ τῆς θείας λειτουργίας τῶν προηγϊασμένων) with Papadike and methods, Anthology for Hesperinos, for Orthros, for the divine Liturgies and Mathematarion. 1453.
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Raya, Joseph (1958).Byzantine Liturgy. Tournai, Belgium: Societe Saint Jean l'Evangelist, Desclee & Cie.
Sarafov, Petĕr V. (1912).Рѫководство за практическото и теоретическо изучване на восточната църковна музика ["Manual for the practical and theoretical study of the oriental church music", includes an Anthology of Ioan Kukuzel's compositions, Doxastika of the Miney by Iakovos and Konstantinos the Protopsaltes, a Voskresnik, and Anthologies for Utrenna and the Divine Liturgies]. Sofia: Peter Gluškov.
Soroka, Rev. L. (1999).Orthodox Prayer Book. South Canaan, Pennsylvania 18459 U.S.A.: St. Tikhon's Seminary Press.ISBN1-878997-34-3.{{cite book}}: CS1 maint: location (link)
Huglo, Michel (1966). Westrup, Jacques (ed.). "Les chants de la Missa greca de Saint-Denis".Essays Presented to Egon Wellesz. Oxford: Clarendon:74–83.
Moran, Neil K. (1975).The Ordinary chants of the Byzantine Mass. Hamburger Beiträge zur Musikwissenschaft. Vol. 2. Hamburg: Verlag der Musikalienhandlung K. D. Wagner. pp. 86–140.ISBN978-3-921029-26-8.
