FOR THE SAINT GIORGI MTATSMINDELI’S HYMNOLOGY

Abstract

Giorgi Mtsire in his hagiographical work tells us about the polyphony of the
Saint Giorgi Mtatsmindeli. He says that Saint Giorgi Mtatsmindeli was educated
in the art of polyphony in his youths. He knew all hymns of years and was easily
adopted in oral teaching, for this he was excellent within his colleagues and as
like his great ancestors Saint Grigol Khandzteli and Mikael Modrekili.

To study the hymnographical heritage and his attitude to the Georgian polyphony
we must get acquainted his biography from the Giorgi Mtsire’s hagiographical
works and also with The Will added to the hymnographical works of
Saint Giorgi Mtsatsmineli. On the based of abovementioned works we can say
some interesting view about the works of Mekhels’ and their heritage’s hymnographical
works. Traditions ruined from Mekhels’ stayed like the guide for
the hymnographs of XI century. The Saint Giorgi Mtatsmindeli sayed: Mekhels’
are my teachers, priests. From the hagiographical works of Giorgi Mtsire we
confirm that hymns of Giorgi Mtatsmindeli were polyphonic. Georgian science
Ivane Javakhishvili payed great attention to the fact saved in this story about
the 80 orphans grew up by the Saint Giorgi Mtatsmindeli, they chanted in front
of the Caesar of Byzantium and the Caesar mentioned the polyphonic style of
the song. It means that the Caesar knew about the differences of Georgian and
Greece chants and he had already mentioned that.
The polyphone of Georgian chants did not begin at once, this was the long
period of formation. From the beginning it was monophonic and then it becomes
polyphonic. Joan Petritsi classified Georgian polyphonic chants according the
phonics: (Mzakhr/first, Jhir/second, Bam/third).
From the polemics within the Patriarch of Antioch and the Saint Giorgi
Mtatsmindeli we confirm the canonically of polyphony of Georgian chants. The
Saint Giorgi Mtatsmindeli confirms the apostolic history and long independency
of Georgian church. At the time of this polemics the canonicality of Georgian
chant’s polyphony had already been confirmed otherwise the Patriarch of Antioch
would reprimanded Saint Giorgi Mtatsmindeli and he would have been
accused in noncanonicallity of liturgy. This polemic confirms that the Georgian
polyphonic chants are canonical and has long history. It is supposed that the first
years Christianity and Christian people in churches did not get used the monophonic
style of chants because Georgian folk and traditions were acquainted
only to the polyphonic style of songs. It means that the changes in the style
of chants must be made from the beginning. The Georgian chants would have
changed from the monophonic to the polyphonic from the early stage of liturgy.
Diversity is the main detection of Georgian mind, Georgian national spiritual
life, diversity is the system of thinking. So it gives us the chance to say that the
polyphony must have been the style of Georgian chants from the early stage of
our church development. In parallel of Georgian hymnography there were used
the old style of Georgian poetry as it was in architect of Georgian church, there
are plenty of pre-Christianity elements on Georgian architect.