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Collection of Svanetian Songs (Chant)


Georgian chant comprises music sung for the Georgian Orthodox liturgical services. It developed over several centuries, and was maintained as an oral tradition until the end of 19th century, when only a handful of older singers could remember the more sophisticated, rare variants and the all-important skill of improvised harmonization in three voices. Thankfully, a handful of people recognized the imminent loss of the chant tradition, and worked to save at least some portion of it.

More than eight thousand hymns transcribed in the 1880s and 1920s by famous public and church figures Pilimon Koridze, Vasili and Polievktos Karbelashvili, Razhden Khundadze and Ekvtime Kereselidze, represent the treasure of Georgian church hymns. They reflect various traditions of the centuries-long history of Georgian church singing.

Churches and monasteries in almost all provinces of Georgia had their own schools of chant. Today many traditional schools of chant bear the names of these very monasteries, specifically, the Gelati, Shemokmedi and Svetitskhoveli schools of chant.

After the annexation of Georgia by Russia in the 19 th century and due to the persecution of Georgian chanting, schools of chant moved from monasteries into families and thus the tradition of teaching was proceeded. This fact served as a reason for giving the educational centres the names of universal chanters - the modes of Didi Geronti, Archimandrite Soprom, Archimandrite Tarasi, the Karbelashvili brothers, Chalaganidze, Kandelaki, Simon Kuti, Dumbadze, etc. "Gelati monastery was considered to have fostered church chanting. The chief school was located here and the chanting spread not only in Western Georgia, but all of over the country".

Gelati Monastery had compiled the basic achievements of chanting from the "Golden Age" and from the earlier period of Georgian history. Here the root musical language developed, on which different branches of chanting school traditions were based. Thousands of chants were transcribed by Pilimon Koridze. The performers of those chants in most cases represented different chanting traditions and worked at churches and monasteries in different regions. But, the existence of the common musical basis and canon made it easier for people with different chanting traditions to chant together. Pilimon Koridze’s transcriptions serve as examples of this.

It is known that "The Committee for the Revival of Georgian Chanting" first chose the following three chant performers: Dimitri Chalaganidze, Ivliane Tsereteli and Razhden Khundadze. The trio of chanters was supervised by a representative of the Shemokmedi school, a universally acclaimed chanter Anton Dumbadze, the "grandfather of the Gurian chanting, the one who revived and promoted Gurian chant all over Guria-Samegrelo."

Dimitri Chalaganidze was a son of Rostom Chalaganidze - once a famous chanter himself in Martvili. Rostom’s chanting teacher was Besarion (Dadiani) the Metropolitan Bishop of Chqondidi and consequently his son mastered the same chanting mode.

One of Razhden Khundadze’s letters tells about Ivliane Chalaganidze. "In the Cathedral of Khoni, in one of the cells there lived an expert chanter Simona Kuti (Pirtskhalava). . . The number of his disciples is quite large, among them Ivliane Tsereteli - a priest and a famous chanter."
Regarding his own chanting education Razhden Khundadze comments that he had learned chanting in Guria. The trio of Chalaganidze, Tsereteli, and Khundadze, as we can see, combines three chanting traditions. Because the notations of various chanting traditions from all over Western Georgia were preserved at Gelati monastery, this school has been given the name of Gelati school of chant.
The tradition of the Shemokmedi school of chant is also called Dumbabdze’s Mode. The Dumbadzes had always been clergymen and most of them had worked in Shemokmedi Monastery. One of the family members, Anton Dumbadze (1824-1907), is buried at the Monastery’s cemetery.

Among the famous chanters listed in Polievktos Karbelashvili’s book "Georgian Secular and Sacred Modes" there are several singers from Shemokmedi: Iakob Dumbadze (1679-1721), priest Giorgi Dumbadze (1875), and Mate Gogitidze (1541-1560) the head priest of Shemokmedi Monastery who devoted his life to saving and preserving Georgian chant under the dire historical circumstances of the 16 th century. Ioane Gogitidze, Mate’s nephew (1560-1590), is also mentioned here.

All the above-mentioned point that the Shemokmedi Monastery was one of the most important centres of Georgian chanting. This is also proved by the fact that several collections of neumes, preserved at the Tbilisis Institute of Manuscripts, have been brought from the Shemokmedi Monastery. In Pilimon Koridze’s transcriptions the samples from the Shemokmedi Monastery are represented by the hymns passed on by Anton Dumbadze.

Several chants of the Shemokmedi school have reached us in the form of sound recordings. More than one hundred hymns were performed and recorded by Artem Erkomaishvili, Melkisedek Nakashidze’s student. Nakashidze, a prominent chanter, in his turn, had been Anton Dumbadze’ disciple.
The tradition of the Shemokmedi school is also reflected in the audio-recording of 11 chants recorded by Dimitri Patarava, Varlam Simonishvili and Artem Erkomaishvili in 1949. These recordings are preserved at the sound-archive of the Georgian Folk Music Department at Tbilisi State Conservatoire.
The Kartli-Kakhetian chant (tradition of Eastern Georgia) is represented by the so-called Karbelaant Kilo, recorded by the Karbelashvili brothers. Polievktos Karbelashvili’s book "The Georgian Secular and Sacred Modes" (Karbelashvili P., 1898) provides very interesting information about the origins of this mode. Polievktos Karbelashvili’s grandfather Petre Karbela (Khmaladze), born in 1754, mastered the art of chanting as a young man at the court of King Erekle II. Later he became a teacher of chanting at Samtavisi church. Petre Karbela’s son, Grigol, who was among his students, later passed this tradition of chanting over to his sons – Polievktos and Vasili.

Due to the adversities of this historical period, chanting in Kartli-Kakheti was doomed to be forgotten. At a special meeting called in 1764 by King Erekle II and Catholicos Anton, it was resolved to church men and heads of monasteries to "set up choirs of chanters at all diocese and monasteries." For this reason a School under Catholicos’ supervision was founded at the Svetitskhoveli Cathedral where young people studied Georgian chanting together with various other subjects. Like old times, children from noble families studied here. Soon two choirs performed their chanting.

The alumni of this school later passed their knowledge over to their disciples all over Kartli and Kakheti."

The Svetitskhoveli chanting tradition functioned to revive Georgian chanting. Presumably, the Karbelashvilis’ ancestors also experienced this influence. Hence, it would not be groundless to consider the so-called Karbelaant Kilo a surviving example of the Svetitskhoveli chanting school.

Additional info: Ilia Chavchavadze, one of Georgia’s great writers, once wrote: "If you love Georgia a little bit, it is necessary to visit Svaneti". At that time, such a feat would have proven difficult.

Visitors to the region would have encountered unusual scenery, spirited mountaineers and prophetic old men of biblical appearance. Visiting Svaneti, ‘the land of a thousand towers’ is far more rewarding for tourists today. Svaneti has a great tradition of folk songs and culture unique to the region.

In August 2007, the Ministry of Culture organized an expedition to Svaneti to collect and record of traditional songs, which were performed primarily during feasts. A special mobile audio studio was set up in order to record these songs. In all, 170 songs were recorded.

Svaneti is the native land of the brave, hardworking, cheerful, hospitable and invincible mountaineers, which Ancient Greek writers named "Soans" or "Soanids". This land for centuries was a symbol of pride and freedom. The Georgian language was spoken here and flew flags depicting a lion, the same image that was on David the Builder’s and Queen Tamar’s flag.

Legend has it that Svaneti is connected to the legend about the Golden Fleece. In particular, the ‘double top mountain’ that is mentioned is presumably Mount Ushba.

The folk songs tell of the difficult history of Svaneti; singing of numerous wars and enemy attacks in minor chords. They are distinguished by their striking harmonies, melodies and depth. They sing of love for naure, and mourn the death of relatives. The song "Lile" (a hymn to the sun) highlights pagan elements which exist in Svanetian customs today.

Ceremonial and spiritual church chanting in the Svanetian music is influenced by western Christian music. The sacred music acts as a way of connection with the deepest source of existence, and serves as a distraction from life’s hardships. Georgia has a rich tradition of polyphonic choral singing. Folklore and church songs are an inseparable part of Georgian culture, and Georgia is proud of it.

The Georgian polyphonic tradition is ancient, and is characterized by the use of the tones very closely located to each other. Music and songs were transferred from generation to generation directly through live singing tradition. Mainly in Georgia men are engaged in singing. The typical Georgian song consists of three mens voices.

Artist: Various
Album: Collection of Svanetian Songs (Chant)


ბასიანი - წმინდაო ღმერთო
სამების გუნდი - სვანური წმიდაო ღმერთო

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  • Model: Audio CD
  • Artist: Various
  • Music Genre: Chant

This product was added to our catalog on Saturday 31 December, 2011.

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