History of Georgian chant takes roots from the introduction of Christianity in Georgia in 326.Since then it has become an integral part of Georgian culture and spirituality and up to now plays a crucial role not only in ecclesiastic life but resembles a special national pride and treasure.
Georgian musical art-polyphony developed in different churches and monasteries in and outside Georgia (Palestine, Mount Sinai, Mount Athos, Jerusalem). Initially it was presented by the hymns translated from Greek. Translated hymnographic material was collected in ancient Georgian monuments – lectionariums. Several ancient editions of lectionariums (from Kala, Latali, Paris and Mount Sinai), reflect Liturgical practice in Jerusalem from the late 5th century until 10th centuries. In general,lectionarium shows three basic types of chant performance: responsorial, antiphonal and single-choir.
First independent hymnographic collection – iadgari (lit. memorable) was created on the basis of lectionariums and it united the chants to be performed throughout a year. Several old copies of iadgari, created before the 10th century, have also survived. They contain unique data about early stages in the development of Byzantine and Georgian hymnographies.
From the 10th century Georgian centers of hymnography suppressed by the Arabs were moved from the Holy Land to other Monastic Centers. One of the most important cultural centers of Georgian Christian literature and music emerged in the monastic state of Athos established by two Georgian fathers Ekvtime and Giorgi Mtatsmindeli
Further development of Georgian Hymnography is related to the Monastic schools of Tao-Clarjeti (South Georgia, present-day Turkey) lead by Reverent Grigol Khandzteli – great ecclesiastical figure of the 9th century who composed a complete collection of chants – satselitsdo iadgari, which provided a basis for further development of original hymnography.
In the 11th century one of the most important literary-philosophical schools was founded at the Bachkovo Monastery (archaically the Petritsoni Monastery), one of the prominent representatives of this school Ioane (John) Petritsi provided the information about the polyphonic nature of Georgian music and harmony created by the combination of three voices.
In 13th-16th centuries due to severe social and political unrest,foreign invasions and internal tension Georgian art of chant started to decline until in the 17th century when David Gareji monastic complex became one of the most important centers of Georgian spiritual culture. Established in a semi-desert by Assyrian monks in the 6th century,David Gareji united some 22 cave-cut monasteries.
At the end of the 18th century King Erekle II took the initiative to preserve traditions of Chant Schools in Georgia but Abolition of the autocephalous status of the Georgian Church (1811) by Czarist Russia and introduction of the Divine liturgy in Russian language (with Russian chanting),became a great threat to the existence of centuries-old Georgian chant.
In early 20th century Georgian chant and spirituality in general faced another danger – Soviet totalitarian regime when there was practically no divine liturgy at the churches.
Revival of Georgian canonical chanting started in the 1980s, when the members of Anchiskhati church(Tbilisi) choir started chanting ancient tunes from the handwritten scores of Georgian chants preserved at the archives of National Centre for Manuscripts. Currently, according to the order of the Holy Synod of Georgia Divine Liturgy at Georgian churches is carried out as accompanied only with ancient Georgian canonical chants.
Geplaatst door Nick Mazanishvili op Zondag 24 februari 2019