Pyotr Ilyich Tchaikovsky
(1840-1893)

"Hymn of the Cherubim" from Liturgy of St. John Chrysostom, Op. 41

Composed 1878

Pyotr Ilyich Tchaikovsky’s “Hymn of the Cherubim,” from his Liturgy of St. John Chrysostom, Op. 41, is one of the most sublime and deeply spiritual works in the choral repertoire. Composed in 1878, this setting of the ancient Orthodox text exemplifies Tchaikovsky’s ability to fuse traditional Russian liturgical music with his own expressive harmonic language, creating a work that is both reverent and emotionally resonant.

The Liturgy of St. John Chrysostom is one of the principal services of the Eastern Orthodox Church, and Tchaikovsky’s setting was groundbreaking as one of the first concert-style choral works based on the Russian liturgical tradition. Though initially met with resistance from ecclesiastical authorities, who deemed it too modern for sacred use, the work has since become a cornerstone of Orthodox choral music and opened the door for future composers – like Rachmaninoff and Gretchaninov – to explore similar territory with greater freedom.

The “Hymn of the Cherubim” is the most well-known movement of the liturgy, capturing the essence of divine worship with its rich, flowing textures and profound sense of serenity. The text – “Let us who mystically represent the Cherubim” – calls upon worshippers to lay aside all earthly cares in preparation for the Eucharist. Tchaikovsky’s setting achieves a transcendent quality through long, arching phrases, lush harmonies, and a gradual build toward an ethereal climax before dissolving into contemplative stillness, as if suspended in sacred space.

Unlike his symphonic and operatic works, this piece reveals a different side of Tchaikovsky – one deeply connected to faith, introspection, and the Russian  choral tradition. Scored for unaccompanied mixed choir and relying on the depth of the basso profundo voices typical in Russian liturgy, the “Hymn of the Cherubim” remains a masterpiece of sacred choral music, evoking a timeless sense of awe and reverence that continues to move audiences and performers alike across centuries and cultures.

Instrumentation – SATB choir

Duration – 7 minutes 30 seconds

~ Kenneth Bean
Georg and Joyce Albers-Schonberg Assistant Conductor
Princeton Symphony Orchestra