Podcasts about cherubic hymn

This unusual song was a feature of the 60s and 70s folk revival - a real show stopper and something of a curiosity. But underneath it lies a thousand years of European folklore, and a further thousand years of vivid theology.So, my friends, we're going on a metaphysical journey to the underworld. Have you been charitable in your life? Did you give a cow to the poor, or 'hosen and shoon' to a beggar? Did you judge rightly? Have you been moving your neighbours' boundary stones? Better take stock, because the journey is long and dangerous.We're going over the thorny moor and the high Gjallarbrui; we're glimpsing heaven and hell and as for the final judgement, we've got a ringside seat. There are angels and ghosts and, surprisingly, gossip.This is a song that has to be experienced rather than studied, so follow me. We're going to have a weird time.MusicL'Homme Arme, 15th Century song by Johannes RegisSainte Nicholas, 12th Century song by Godric of FinchaleMarglit og Targjei Risvollo, traditional Norwegian songDraumkvedet, traditional Norwegian balladChiamando, un'astorella, 14th Century Italian songLet All Mortal Flesh Keep Silence is based on the Cherubic Hymn in the Orthodox Christian tradition and dates back to least 275 AD. The English translation from Greek was made by Gerard Moultie and set to a traditional French tune, Picardy.The Lyke Wake Dirge (traditional version)The Lyke Wake Dirge, tune by Harold Boulton, arranged by Malcolm LawsonThe Lyke Wake Dirge, set to the 14th Century song Ad Mortem Festinamus ReferencesMainly Norfolk: The Lyke Wake Dirge (Roud 8194; TYG 85) (mainlynorfolk.info)Draumkvedet in translation: https://lyricstranslate.com/en/draumkvedet-dream-poem.htmlHarald Foss - Draumkvedet: https://www.youtube.com/watch?v=8k7ne8YMIIsGardiner, E. (2021). Visions of Heaven and Hell: A Monastic Literature. The Downside Review, 139(1), 24-43. https://journals.sagepub.com/doi/10.1177/0012580621997061#body-ref-fn107-0012580621997061 Isaacson, Lanae H. “‘Draumkvædet:' The Structural Study of an Oral Variant.” Jahrbuch Für Volksliedforschung, vol. 25, 1980, pp. 51–66. JSTOR, https://doi.org/10.2307/849056. Accessed 31 Oct. 2023Carlsen, C (2012) Old Norse Visions of the Afterlife (PhD Thesis, University of Oxford) https://ora.ox.ac.uk/objects/uuid:9b3b8518-912e-4425-8748-dea135e695d0/download_file?file_format=application%2Fpdf&safe_filename=THESIS02&type_of_work=ThesisJohn Aubrey's Remaines of Gentilisme and Judaisme https://archive.org/details/remainesgentili01aubrgoogDante's Divine Comedy: https://www.owleyes.org/text/dantes-inferno/read/canto-13 The Lyke-Wake Dirge: the revival of an Elizabethan song of the afterlifehttps://earlymusicmuse.com/lyke-wake-dirge/Hurdy Gurdy sample, battle sounds, stormy ambience and various owls from FreeSound

Dmitri Bortniansky - Cherubic Hymn No. 7Ensemble CherubimMarika Kuzma, conductorMore info about today's track: Naxos 8.573109Courtesy of Naxos of America Inc. SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Lucy and Chase talk about how they are coping with the last year struggling with a miscarriage, fertility tests and challenges, dealing with insensitive comments about family life, how they deal with the unknown in regards to their family future, and how one specific line from the Cherubic Hymn gives them hope for whatever their future may hold, all between juggling Lucy's band, her day job, and Chase's naval position.

Lucy and Chase talk about how they are coping with the last year struggling with a miscarriage, fertility tests and challenges, dealing with insensitive comments about family life, how they deal with the unknown in regards to their family future, and how one specific line from the Cherubic Hymn gives them hope for whatever their future may hold, all between juggling Lucy's band, her day job, and Chase's naval position.

Lucy and Chase talk about how they are coping with the last year struggling with a miscarriage, fertility tests and challenges, dealing with insensitive comments about family life, how they deal with the unknown in regards to their family future, and how one specific line from the Cherubic Hymn gives them hope for whatever their future may hold, all between juggling Lucy's band, her day job, and Chase's naval position.

This hymn was recorded October 22, 2022, during the 3-day symposium at St. Tikhon's Orthodox Church in Blountville, Tennessee. The choir was comprised of Orthodox singers from Tennessee, Virginia, North and South Carolina, Missouri, Alabama, and a few even beyond those Southern climes. Choir director: Peter Fekula. The Cherubic Hymn is the primary cherubikon (Gr: χερουβικόν), or song of the angels, sung during every Divine Liturgy of the year with the exception of the liturgies of the Presanctified Gifts and those of Holy Thursday and Holy Saturday. It occurs after the Gospel reading and is interrupted by the Great Entrance. The Cherubic Hymn was added to the Liturgy of St. John Chrysostom by order of the Emperor Justinian near the end of the sixth century. The words of the Cherubic Hymn are as follows:"We, who mystically represent the Cherubim,And chant the thrice-holy hymn to the Life-giving Trinity,Let us set aside the cares of lifeThat we may receive the King of all,Who comes invisibly escorted by the Divine Hosts." Though the actual text is short, the hymn lasts for quite a while due to its drawn-out, ethereal style. It is our best imitation of and supplement to the singing of the Heavenly Hosts. In either 573 or 574, Justinian I had the Cherubic Hymn added to the standard liturgy. The previous cherubikon used was that of the Liturgy of St. James, which had then been borrowed into the Liturgy of St. Basil. This hymn, beginning with the phrase "Let all mortal flesh keep silent" is currently only used on Holy Saturday. (The cherubikon used on Holy Thursday begins, "Of thy mystical supper..."). During the period of the fourth to sixth centuries, the shape of the Eastern Divine Liturgy reached its final form under the guidance of liturgists such as St. John Chrysostom. In this same period the major formative changes occurred, most of which resulted in liturgical components that corresponded to the Church's developing theological understanding. Among them were the hymn "Only-Begotten Son" and the addition of the Nicean-Constantinopolitan Creed (countering heresies), and "The Trisagion Hymn" reflecting the Trinitarian theology being currently defined. In this period and on through the ninth century, hymns were composed and added to the Divine Liturgy, such as the Cherubic Hymn, sung while the priest recites the prayer that is now called "The Prayer of the Cherubic Hymn.” Source: OrthodoxWiki

Grand Duchess Elizabeth was a grand-daughter of Queen Victoria of England and the older sister of the Empress Alexandra (July 4). After marrying Grand Duke Sergei she converted to the Orthodox faith, though this was not required by her position. After her husband was assassinated in 1905, she took monastic vows and withdrew from the world, founding the Convent of Saints Mary and Martha. There she served as superior, devoting her time to prayer, fasting, and caring for the sick and the poor.   During the Russian Revolution, she was seized by the God-hating Bolsheviks and taken to the Urals, where she and several with her were martyred by being thrown alive down an abandoned mine-shaft. When the fall did not kill them, soldiers threw grenades down the shaft to complete their work. Saint Elizabeth was singing the Cherubic Hymn when she died.   The Nun Barbara, her cell-attendant, voluntarily followed St Elizabeth into exile and received martyrdom with her. Their relics were recovered and taken at great risk to China, then to Jerusalem, where they were deposited in the Convent of St Mary Magdalene. When their reliquaries were opened in 1981, their bodies were found to be partly incorrupt, and gave off a sweet fragrance.   Footnote: After the assassination of her husband in Moscow, Grand Duchess Elizabeth had a cross erected at the site of his death, bearing the inscription "Father, forgive them, for they know not what they do." After the revolution, the cross remained standing through the devotion of the people of Moscow to St Elizabeth, until it was personally torn down by Lenin.

Grand Duchess Elizabeth was a grand-daughter of Queen Victoria of England and the older sister of the Empress Alexandra (July 4). After marrying Grand Duke Sergei she converted to the Orthodox faith, though this was not required by her position. After her husband was assassinated in 1905, she took monastic vows and withdrew from the world, founding the Convent of Saints Mary and Martha. There she served as superior, devoting her time to prayer, fasting, and caring for the sick and the poor.   During the Russian Revolution, she was seized by the God-hating Bolsheviks and taken to the Urals, where she and several with her were martyred by being thrown alive down an abandoned mine-shaft. When the fall did not kill them, soldiers threw grenades down the shaft to complete their work. Saint Elizabeth was singing the Cherubic Hymn when she died.   The Nun Barbara, her cell-attendant, voluntarily followed St Elizabeth into exile and received martyrdom with her. Their relics were recovered and taken at great risk to China, then to Jerusalem, where they were deposited in the Convent of St Mary Magdalene. When their reliquaries were opened in 1981, their bodies were found to be partly incorrupt, and gave off a sweet fragrance.   Footnote: After the assassination of her husband in Moscow, Grand Duchess Elizabeth had a cross erected at the site of his death, bearing the inscription "Father, forgive them, for they know not what they do." After the revolution, the cross remained standing through the devotion of the people of Moscow to St Elizabeth, until it was personally torn down by Lenin.

Sam and Tim emerge from their winter hibernation for a special episode celebrating the musical culture of Ukraine. Six Ukrainian composers and performers share their favourite Ukrainian-composed music, while Sam takes a sideways look at Valentin Silvestrov's delicate piece for synthesiser, piano and strings The Messenger.Big thanks to Antonii Baryshevsky, Anna Fedorova, Pavel Gintov, Victoria Loukianetz, Ivan Nebesnyy and Ludmilla Yurina.…Donate to the Disasters Emergency Committee Ukraine AppealVia Presto Music, buy one of 14 albums featuring a wide range of Ukrainian repertoire, or a selection of printed music by Ukrainian composers.…Music referenced:Okean Elzy's ‘We Won't Give Up the Fight'Valentin Silvestrov's Esquisses de crimée, Op. 8 – 1. ‘The Rocks of Uch-Kosh', performed by Pavel Gintov‘Song about the Cossack Holota', performed by Dmytro HubiakMykola Lysenko's Byut' porohy (‘Dniper's Rapids Are Roaring'), performed by the Orchestra of the National Broadcasting Company of Ukraine under Volodymyr SirenkoThe ‘Emigration Elegy' by Stefania Turkewich, performed by Pavlo Hunka and Albert KrywoltBeethoven's Variations on Folk Songs, Op. 107 – 7. ‘Schöne Minka', performed by Leonidas Kavakos and Enrico PaceBoris Lyatoshynsky's Symphony No. 3 in B Minor, Op. 50, performed by the Ukrainian State Symphony Orchestra under Theodore KucharDmitry Bortniansky's The Cherubic Hymn, performed by the Estonian Philharmonic Chamber Choir under Paul HillierThe overture to Wagner's Der fliegende HolländerValentin Silvestrov's Kitsch Music – 1., performed by Vladimir Feltsman‘Summertime' from Gershwin's Porgy and Bess, performed by Golda Schultz and the Metropolitan Opera‘Ot hodit' son kolo vikon', performed by Kvitka CisykMykola Leontovych's ‘Shchedryk'Peter J. Wilhousky's ‘Carol of the Bells', performed by the Mormon Tabernacle ChoirIvan Nebesnyy's How Many Letters to You, performed by Svitlana Hleba and the Lviv Virtuosos Academic Chamber Orchestra under Serhiy BurkoValentin Silvestrov's The Messenger, performed by Iryna Starodub and the Kiev Virtuosi Chamber Orchestra under Dmitry YablonskyValentin Silvestrov's ‘La belle Dame sans Merci', performed by Alexei Lubimov and Alexei MartinovThe Odessa Opera Chorus performing the National Anthem of Ukraine by Mykhailo VerbytskyVictoria Loukianetz performing ‘Ridna Maty Moya'… Follow us here: instagram.com/classicalpod/ twitter.com/ClassicalPod facebook.com/ClassicalPod/

07:01 https://www.ancientfaith.com/podcasts/hiddensaints/john_scholasticus_author_of_the_cherubic_hymn_feb_21 feeds@ancientfaith.com (Fr. Steven Ritter and Ancient Faith Radio)

In this episode, we consider the Great Entrance of the Eucharist, the rest stop at the Cherubic Hymn, and the Creed. We also look at some of the scenery on the liturgical journey, such as the people reaching for the priest's vestments and the meaning of the doors in the altar.

In this episode, we consider the Great Entrance of the Eucharist, the rest stop at the Cherubic Hymn, and the Creed. We also look at some of the scenery on the liturgical journey, such as the people reaching for the priest's vestments and the meaning of the doors in the altar.

In this episode, we consider the Great Entrance of the Eucharist, the rest stop at the Cherubic Hymn, and the Creed. We also look at some of the scenery on the liturgical journey, such as the people reaching for the priest's vestments and the meaning of the doors in the altar.

Au cours du  moyen âge, s'établissent autour de la Méditerranée trois grandes civilisations bâties autour d'une religion, d'une langue et d'une organisation politique et sociale.     A l'est, le monde byzantin, au sud et sud-est, le monde arabo-musulman et au nord-ouest, le monde latin ou occident chrétien.      Partons donc aujourd'hui à la découverte de ces trois civilisations pour comprendre ce qui les caractérise.   #5ème #2nde ✉️ Contact: tasquienhistoire@gmail.com *** Sur les réseaux sociaux *** Facebook : https://www.facebook.com/TasQuiEnHistoire Twitter : @AsHistoire  Instagram : @tasquienhistoire    *** Crédits Sons *** - Icons of Sound: Cappella Romana in a virtual Hagia Sophia - Cherubic Hymn in Mode 1 performance at Stanford University's Bing Concert Hall. February 1, 2013. Cherubic Hymn in Mode 1 - Manuel Chrysaphes, MS Mt. Athos, Iviron 1120 (1458) Youtube @ccrmalite1  - Kevin MacLeod - Ibn Al Noor Téléchargement gratuit : https://incompetech.com/music/royalty... Musique proposée par Audio Libre : https://youtu.be/ZSP9TPSa9TQ  - "La doulce jouvencelle" Luth et voix (France, XIIIe siècle) / http://www.servicejeunesse.asso.fr/Ressources/Outils_pour_projets/Sons_pour_vos_projets.htm 

19 September 2021 | St. Januarius | Menlo Park, Calif. This week, we finally close out the Silmarillion with its last appendix, “On the Rings of Power and the Third Age,” as well as the unlikely tale of how The Hobbit first came to be published and Tolkien's reactions to the loss of his lifelong friend, C.S. Lewis. Also in this episode: St. Januarius, bishop, martyr, and miracle-worker! Just what is the meaning of his miraculous blood? Opening music: “The Cherubic Hymn,” mvt. 9 of the Liturgy of St. John Chrysostom, composed and directed by Benedict Sheehan, sung by the St. Tikhon Choir, 2019. All rights reserved. --- Send in a voice message: https://anchor.fm/in-your-embrace/message

Mr. William Edward Cordts preaches a sermon entitled “A Third Way.” The remainder of the recording is a re-broadcast from previous services. The Marsh Chapel Choir sings “Also hat Gott die Welt geliebt, SWV 380” by Heinrich Schütz, "O Lord, give thy Holy Spirit" by Thomas Tallis, and "Cherubic Hymn in F major" by Pyotr Ilyich Tchaikovsky, along with service music and hymns.

Nadifa Mohamed chooses Purcell's Dido's Lament and Pergolesi's Stabat Mater as her favourite songs. Malcolm Guite reads his version of Psalm 5, followed by Tchaikovsky's Cherubic Hymn. Adrian Plass describes an amusing visit to his local hardware store.

The Cherubic Hymn --- Send in a voice message: https://anchor.fm/orthodox-christian-prayer/message

Grand Duchess Elizabeth was a grand-daughter of Queen Victoria of England and the older sister of the Empress Alexandra (July 4). After marrying Grand Duke Sergei she converted to the Orthodox faith, though this was not required by her position. After her husband was assassinated in 1905, she took monastic vows and withdrew from the world, founding the Convent of Saints Mary and Martha. There she served as superior, devoting her time to prayer, fasting, and caring for the sick and the poor.   During the Russian Revolution, she was seized by the God-hating Bolsheviks and taken to the Urals, where she and several with her were martyred by being thrown alive down an abandoned mine-shaft. When the fall did not kill them, soldiers threw grenades down the shaft to complete their work. Saint Elizabeth was singing the Cherubic Hymn when she died.   The Nun Barbara, her cell-attendant, voluntarily followed St Elizabeth into exile and received martyrdom with her. Their relics were recovered and taken at great risk to China, then to Jerusalem, where they were deposited in the Convent of St Mary Magdalene. When their reliquaries were opened in 1981, their bodies were found to be partly incorrupt, and gave off a sweet fragrance.   Footnote: After the assassination of her husband in Moscow, Grand Duchess Elizabeth had a cross erected at the site of his death, bearing the inscription "Father, forgive them, for they know not what they do." After the revolution, the cross remained standing through the devotion of the people of Moscow to St Elizabeth, until it was personally torn down by Lenin.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Ground of Being". The remainder of the recording is a re-broadcast from previous services. The Marsh Chapel Choir sings "Heilig" by Felix Mendelssohn and "Cherubic Hymn in F major" by Pyotr Ilyich Tchaikovsky along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "Ground of Being". The remainder of the recording is a re-broadcast from previous services. The Marsh Chapel Choir sings "Heilig" by Felix Mendelssohn and "Cherubic Hymn in F major" by Pyotr Ilyich Tchaikovsky along with service music and hymns.

Grand Duchess Elizabeth was a grand-daughter of Queen Victoria of England and the older sister of the Empress Alexandra (July 4). After marrying Grand Duke Sergei she converted to the Orthodox faith, though this was not required by her position. After her husband was assassinated in 1905, she took monastic vows and withdrew from the world, founding the Convent of Saints Mary and Martha. There she served as superior, devoting her time to prayer, fasting, and caring for the sick and the poor.   During the Russian Revolution, she was seized by the God-hating Bolsheviks and taken to the Urals, where she and several with her were martyred by being thrown alive down an abandoned mine-shaft. When the fall did not kill them, soldiers threw grenades down the shaft to complete their work. Saint Elizabeth was singing the Cherubic Hymn when she died.   The Nun Barbara, her cell-attendant, voluntarily followed St Elizabeth into exile and received martyrdom with her. Their relics were recovered and taken at great risk to China, then to Jerusalem, where they were deposited in the Convent of St Mary Magdalene. When their reliquaries were opened in 1981, their bodies were found to be partly incorrupt, and gave off a sweet fragrance.   Footnote: After the assassination of her husband in Moscow, Grand Duchess Elizabeth had a cross erected at the site of his death, bearing the inscription "Father, forgive them, for they know not what they do." After the revolution, the cross remained standing through the devotion of the people of Moscow to St Elizabeth, until it was personally torn down by Lenin.

The Rev. Dr. Karen Coleman preaches a sermon entitled "God Forgive Them". The Marsh Chapel Choir sings “Heilig" by Felix Mendelssohn and "Cherubic Hymn in F Major" by Pyotr Ilyich Tchaikovsky along with service music and hymns.

The Rev. Dr. Karen Coleman preaches a sermon entitled "God Forgive Them". The Marsh Chapel Choir sings “Heilig" by Felix Mendelssohn and "Cherubic Hymn in F Major" by Pyotr Ilyich Tchaikovsky along with service music and hymns.

This class taught by Fr Daniel Greeson from St. Anne's Orthodox Church continues our series on the Divine Liturgy. In this episode we discuss the litanies leading up to the Cherubic Hymn & the Great Entrance. Introductory music is from the St. Tikhon's Seminary & Monastery Choirs' recording of "The Divine Liturgy: Sunday of the Paralytic"This podcast is powered by Pinecast.

This class taught by Fr Daniel Greeson from St. Anne's Orthodox Church continues our series on the Divine Liturgy. In this episode we cover the litanies after the Gospel reading, the Cherubic Hymn, and the Great Entrance.Introductory music is from the St. Tikhon's Seminary & Monastery Choirs' recording of "The Divine Liturgy: Sunday of the Paralytic"This podcast is powered by Pinecast.

Words and Music From Wikipedia: Let all mortal flesh keep silence (Greek: Σιγησάτω πᾶσα σάρξ βροτεία), also known as Let all mortal flesh keep silent, is an ancient chant of Eucharistic devotion based on words from Habakkuk 2:20, "Let all the earth keep silence before him" (Hebrew: הַ֥ס מִפָּנָ֖יו כָּל־הָאָֽרֶץ‎‎ has mippanaw kol ha-erets). The original was composed in Greek as a Cherubic Hymn for the Offertory of the Divine Liturgy of St James;[1] it probably antedates the rest of the liturgy and goes back at least to AD 275, with local churches adopting arrangements in Syriac. In modern times, the Ralph Vaughan Williams arrangement of a translation from the Greek by Gerard Moultrie to the tune of "Picardy", a French medieval folk melody, popularized the hymn among other Christian congregations. The Moultrie translation is written in 87.87 Trochaic meter. Therefore, winged in the first line of the fourth stanza is intended to be read or sung as a single syllable. However, the two-syllable variant wingèd has become commonly accepted, especially outside of the United Kingdom, because the melody otherwise requires a potentially awkward melisma of the first syllable of winged.

Cherubic Hymn Ending by Metropolis of Detroit

Cherubic Hymn by Metropolis of Detroit

Let all mortal flesh keep silence (Greek: Σιγησάτω πᾶσα σάρξ βροτεία), also known as Let all mortal flesh keep silent, is an ancient chant of Eucharistic devotion based on words from Habakkuk 2:20, "Let all the earth keep silence before him" (Hebrew: הַ֥ס מִפָּנָ֖יו כָּל־הָאָֽרֶץ‎‎ has mippanaw kol ha-erets). The original was composed in Greek as a Cherubic Hymn for the Offertory of the Divine Liturgy of St James;[1] it probably antedates the rest of the liturgy and goes back at least to AD 275, with local churches adopting arrangements in Syriac. In modern times, the Ralph Vaughan Williams arrangement of a translation from the Greek by Gerard Moultrie to the tune of "Picardy", a French medieval folk melody, popularized the hymn among other Christian congregations.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "A Summer Menu". The Marsh Chapel Choir sings "The Cherubic Hymn" by Sergei Rachmaninoff and "I was glad" by Henry Purcell along with service music and hymns.

The Rev. Dr. Robert Allan Hill preaches a sermon entitled "A Summer Menu". The Marsh Chapel Choir sings "The Cherubic Hymn" by Sergei Rachmaninoff and "I was glad" by Henry Purcell along with service music and hymns.

We now come to the time in the Divine Liturgy when the Cherubic Hymn is sung admonishing us to lay aside all earthly care and receive the King of all!

Elissa talks about the new hymnology program at her parish in Austih, TX, and then discusses the Cherubic Hymn.

Can you guess this piece? Here's a hint: Chubby little winged friends

Can you guess this piece? Here’s a hint: Chubby little winged friends

Liturgy of St. John Chrysostom

The bread and wine, the gifts of the people, have been moved from the table of preparation (prothesis table) to the altar in the Great Entrance. In this program we further discuss the Cherubic Hymn in which we are admonished to "lay aside all earthly cares" as we confront the reality of the heavenly Kingdom and the unity of all believers both in heaven and on earth who confess "Father, Son and Holy Spirit, the Trinity one in essence and undivided." We enter a liturgical dialogue with the priest as we contemplate the greatness of the grace of God who accepts from us sinners our gifts in order to return them to us as the Body and Blood of His Son. In this liturgical dialogue we acknowledge our life in the Trinity, the love and unity of the Church, the glory of God, our gratitude to God for His mercy and the awesome and fearful prospect of taking the "fire of divinity" into our human flesh in the Eucharist.

With the reading of the Gospel and the homily that often follows it, the Liturgy of the Catechumens is concluded, and we transition to the Liturgy of the Faithful - The Communion Service. The Eucharist has always been the central focus of the life and worship of the Church from the beginning. Here we try to convey, by way of the Cherubic Hymn and the priestly prayers, the meaning of the Great Entrance - the journey of the gifts from the Prothesis table to the Altar. This is the life-journey of Christ in the world on his way to His Life-Giving Death, and the faithful are eyewitnesses to this - as the lines between heaven and earth are blurred in the mysterious and sacred space of the Kingdom.