Aramaic Project No. 80 to 71 - Interviews and Performances - Video List
No. --> 80 79 78 77 76 75 74 73 72 71Aramaic Project Number | Description | Duration | Date and place of Recording | Video |
80 |
Solemn sung Qurbana (Syriac). Msgr. Jacob Vellian NOTE: This audio recording of the solemn sung Qurbana in Syriac is a significant addition to the archives of the Aramaic Project. The celebrant, Rev. Msgr. Dr. Jacob Vellian (b. 1934), is both an excellent singer and an accomplished scholar of the Syro Malabar liturgy. He grew up in the Syriac tradition. Due to unusual trajectories in life, Fr. Vellian, a member of the Knanaya community, was ordained in Rome and celebrated his first Qurbana in Syriac at the St. Peter’s Basilica. Ever since, Fr. Vellian kept the Syriac music tradition close to his heart. Even after the Syro Malabar Church promulgated the Malayalam version of the Chaldeo-Syriac liturgy in 1962, Dr. Vellian and several other priests in his community continued to celebrate Qurbana in Syriac on special occasions. Even when he celebrated the liturgy in the vernacular, Dr. Vellian would introduce one or two chants in Syriac to keep the awareness of the Syriac heritage alive in the community. This recording represents the period in the history of the Syro Malabar Church, when Qurbana started with the minor doxology with the trope of alleluia. The dialogue between the celebrant and the congregation, Puqdankon/puqdaneh damsiha, during which the celebrant asked permission from the worshippers, came after the minor doxology. One of the remarkable features of this recording is the presence of female voices. Traditionally, Syriac choirs did not include women. From the musical point of view, we hear a different performance practice of the Resurrection hymn (Laku mara) and the Trisagion (Qandisa alaha). The celebrant sings the melody first, and the choir repeats the same melody. At the third iteration, the celebrant and the choir alternate the verses. The first two iterations are set to 4/4 rhythm, whereas the third iteration is rhythmically free. The same performance practice is followed in the singing of the Trisagion. Similar to a practice among several Syro Malabar priests, Dr. Vellian applies the melody of the famous Latin chant, “exsultet” (from the Easter Vigil celebration in the Roman Catholic liturgy) to sing the Institution narrative. The recording also includes three examples of instrumental introduction/interludes, a common practice among Syriac choirs among the Syro Malabar communities. The idea of an opening overture may have come from the familiarity with the West European Opera overtures. Currently, Dr. Vellian is living a retired life. Fortunately, this recording took place during his active years when his voice was in excellent shape. Dr. Vellian did a great service to the Syro Malabar Church by organizing this studio recording with the help of his accompanists. This is only one among the many valuable audio and video recordings that he bequeathed to Cultural historians of Kerala. This recording, in particular, will be useful to music scholars for a comparative study of melodies and performance practices among the priests who celebrate Syriac Qurbana of the Syro Malabar Church. The melodies of the solemn Qurbana is a goldmine for music researchers. Here we have a synthesis of several musical cultures from West Asia, Western Europe, and Kerala as well as a widow to the complex music history of the region. The Christian Musicological Society is immensely grateful to Dr. Vellian for granting permission to post this and several other precious recordings that he organized. Joseph J. Palackal Index 1. Introdution by Fr. JacobVellian in Malayalam (00:01) |
59:11 | ||
80a | Puqdankon in Syriac Qurbana See the full Qurbana: |
1:45 | ||
80c | "Thesbohtha l'alāhā" (Glory to God) Excerpt from Solemn Qurbana in Syriac See the full Qurbana: |
3:30 | ||
80d | Our Father with thrice holy. Awun d'wasmayya See the full Qurbana: |
3:42 | ||
80e | Slotha-oration after the Lord's Prayer See the full Qurbana: |
1:48 | ||
80f | Psalms With Trope of Alleluia See the full Interview |
2:39 | ||
80g |
Slotha-oration after the psalms |
1:57 | ||
80h | Lakumara - Resurrectioh hymn in Syriac See the full Qurbana: |
4:39 | ||
80i | Slotha-oration after the Resurrection hymn See the full Qurbana: |
1:55 | ||
80j | Qandisa Alaha- trisagion in Syriac See the full Qurbana: |
3:46 | ||
80k | Reading of Epistle in Syriac qurbana See the full Qurbana: |
3:03 | ||
80l | Alleluia in Syriac Qurbana See the full Qurbana: |
1:45 | ||
80m | Chanting of the Gospel in Syriac Qurbana See the full Qurbana: |
2:31 | ||
80n |
Slotha -oration after the gospel proclamtion |
2:35 | ||
80o | Karosutha -Prayers of the faithful in Syriac qurbana See the full Qurbana: |
2:55 | ||
80p | Anthem Of The Misteries -pagare damsiha See the full Qurbana: |
2:32 | ||
80q | Commemoration Hymn- Suwha alaha in Syriac Qurbana See the full Qurbana: |
3:42 | ||
80r | The Creed in Syriac Qurbana. A different melody See the full Qurbana: |
3:14 | ||
80s |
Greeings & Exchange Of Peace in Syriac Qurbana See the full Qurbana: |
4:33 | ||
80t | Holy Holy Holy/ Hosana in Syriac Qurbana See the full Qurbana: |
4:20 | ||
80u | Institution Narrative in Syriac Qurbana See the full Qurbana: |
3:37 | ||
80v | Greeting in Syriac Qurbana See the full Qurbana: |
1:39 | ||
80w | Barek Mar in Syriac Qurbana See the full Qurbana: |
5:00 | ||
80x | “Rahme Šūqānâ” Rite Of Reconciliation in Syriac Qurbana See the full Qurbana: |
4:08 | ||
80y | Waswa Lan in Syriac Qurbana See the full Qurbana: |
2:47 | ||
80z | Peace Greeting in Syriac Qurbana See the full Qurbana: |
2:28 | ||
80aa | Invitation To Communion in Syriac Qurbana See the full Qurbana: |
1:47 | ||
80ab | Maran Iso after Communion in Syriac Qurbana See the full Qurbana: |
2:07 | ||
80ac | Yayemar Kol Yawmin concluding Prayer 1 in Syriac Qurbana See the full Qurbana: |
2:28 | ||
80ad | M’siha Alahan concluding Prayer 2 in Syriac Qurbana See the full Qurbana: |
1:57 | ||
80ae | Instrumental Interlude in syriac Qurbana See the full Qurbana: |
1:44 | ||
80af | Final Blessing in Syriac Qurbana See the full Qurbana: |
2:53 | ||
80ag | Instrumental Coda in Syriac Qurbana See the full Qurbana: |
2:14 | ||
79 |
Sagdinan Mar: A unique Syriac chant (Christological)
Sagdīnan mār Sagdīnan mār lālāhūsākh walnāšūākh d’lāpūlāga Translation: We adore, my Lord, your inseparable divinity and humanity. Glossary: Sagdīnan mār (sagdīn + an) = we adore; mār = my Lord; lālāhūsāk (l’ + alahusa + akh) = your divinity; walnāšūākh (w’ + al + nāšūsā + akh) = and your humanity; d’lāpūlāga (d’ + lā +pūlāga) = that which [is] without division. Note: The hymn is from the night prayers (lelya) for Sundays in Advent and Christmas in the East Syriac tradition. This couplet appears in the Thesbohtha (“praise”) that contains several verses. Often, this couplet is treated as a separate chant. In this case, the chant appears at the end of Purathunamaskaram (Hours outside the church) at Kaduthuruthy Valiyapalli. It is led by Rev. Dr. Jacob Vellian, a member of the Knanaya community and a scholar of the Syro Malabar liturgy. This video contains one of the two known melodies of this chant. Until further evidence appears, we may presume that these melodies were composed in Kerala; the text of the hymn, the poetic meter and, possibly, the melody were known to the St. Thomas Christian clergy before 1588. The earliest reference to these is in the acrostic hymn in Syriac, written by a Keralite, Fr. Chandi Kadavil, popularly known as “Alexander the Indian” (1588- c. 1673). The title of Fr. Kadavil’s acrostic hymn on the Eucharist contains a reference to the opening words of this chant; Fr. Kadavil wrote the acrostic hymn according to meter and melody of “Sagdīnan mār.” In this video the same melody is sung three times. In other instances, the same melody is sung three times in three ascending pitch registers. We have one such example in the voice of Rev. Dr. Thomas Kalayil, CMI, which will be posted later. The text is highly Christological, and deserves further study. It is, in effect, a paraphrasing of the exuberant acclamation of St. Thomas the Apostle of India, when Jesus made a special appearance after resurrection (Jn 20:28). The various takes on the existence of the human and divine natures in Christ caused many divisions in the Church. Given below is the content of one of many email communications I had on this topic with Dr. Zacharias Thundy. More comments will be posted on the Encyclopedia of Syriac Chants of the Syro Malabar Church (for lack of space here) under “Sagdinan.” These comments could be the starting point for further research on this chant, for example, for a master’s thesis in theology. Zacharias P. Thundy (October 8, 2017): The hymn was composed during the theological controversies of the time regarding the relationship between the divinity and humanity of Jesus. Without going into details, let me just say that "d’la pulaga" has the meaning of "undivided" referring to the divinity and humanity of Jesus, and not to our act of adoration: "Lord, we worship your undivided humanity and divinity." It all means Jesus is both human and divine. Complex theology it is. So words like "sewiana" and "shuprutha" also have highly technical theological meaning. "Shuprutha" could mean "mia phusis" of Cyril or Council of Chalcedon. I do not know of the theological meaning of "shuprutha" in the Syrian context of the time. Maybe the word means the Chalcedonian "mia phusis" or "Miaphysitism holds that in the person of Jesus Christ, Divine nature and Human nature are united (μία, mia - "one" or "unity") in a compound nature ("physis"), the two being united without separation, without mixture, without confusion, and without alteration." Then there is the theology of the Syrian bishop, Theodore of Mopsuestia: Referring to the two natures in Christ, Theodore writes, “When we try to distinguish the natures, we say that the person of the man is complete and that that of the Godhead is complete (T-120, VIII-8).” Furthermore, he notes that indwelling does not imply a change in nature of either the Logos or the indwelt man (T-121, IX-9), and that Christ’s human will was maintained through the indwelling (T-118, VII-3). Therefore, according to Theodore, Christ is fully human, possessing both human spirit (or rational soul) and human flesh (T-59.22)." All of this theology has a long tortuous history in the ancient Syriac-speaking world, but it is all reflected darkly in the Syriac hymns. Most of us know little or nothing about it all. We are immensely grateful to Prof. Thundy for sharing his informed insights on this complex issue. Joseph J. PalackalNew York 16 January 2018 |
2:05 | ||
78 |
Binu & Deepa singing syriac chants with a smile This video may be a breath of fresh air for the viewers of theCMSIndia channel. It brings out the inspirational story of a young Malayalee couple, Binu and Deepa Mathirappuzha, which sings Syriac chants with a smile. Their journey from apathy and timidity in learning Syriac chants to enjoying and inspiring young listeners is heart-warming. Surprisingly, at this stage in their lives, Binu and Deepa enjoy singing for the Syro Malabar Qurbana more in Syriac than in Malayalam. What is more interesting is that they include Syriac chants in the “ramsa” (Syriac, “evening” prayer) at their home every day. Their two sons, too, have already warmed up to the Syriac tradition. Binu and Deepa speak about their mentors, Fr. Joseph Pathil and Fr. Saji Mattahil with great admiration (See my interview with Fr. Mattathil (https://youtu.be/oFZuUsMlXq0) . Both priests played a significant role in instilling in the couple a respect and love for the Syriac chants. Binu and Deepa haven’t learned the Syriac language, yet they enjoy singing them with text written in Malayalam script; “it is a heavenly experience,” they said. It means that there is something special in these seemingly simple melodies that grow on you in the course of time. My prayer is that the Syro Malabar Bishop’s Conference supports this couple to dedicate one or two years for learning Syriac in an academic institution. Blessed with exceptionally complementary musical talents, this unique couple is a blessing to the Syro Malabar church as well as Kerala culture. Joseph J. PalackalNew York 21-December- 2017 |
54:05 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78a |
Melody of ""Ennan lahma" I am the living bread |
2:45 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78b | The Creed-Binu & Deepa singing syriac chants | 3:34 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78c | Maran iso-Binu & Deepa singing syriac chants | 2:13 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78d | Trisagion (Qandisa alaha)-Binu & Deepa singing syriac chants | 3:11 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78e | Laku Mara - Binu & Deepa singing syriac chants | 2:01 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78f | B'eda Dyawman-Binu & Deepa singing syriac chants | 3:57 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78g | Holy Holy Holy-Binu & Deepa singing syriac chants | 3:47 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
78h | സുറിയാനി സംഗീതം ആദ്യം കയ്ക്കും പിന്നെ മധുരിക്കും : Binu & Deepa Mathirampuzha Binu-Deepa Mathirampuzha talk about the unique experience of singing for Syriac Qurbana. See full interview at Aramaic Project-78 Here is an honest appraisal of the inherent appeal of the Syriac music tradition of the Syro Malabar Church by a musical couple, Binu and Deepa Mathirappilly. Binu and Deepa are excellent singers in Malayalam and Syriac. They started singing and conducting choir for the solemn Qurbana in Malayalam at their local parish. Fr. Joseph Pathil introduced them to Syriac chants. The music style of the Syriac chants appealed to them instantly and they developed a fascination and started incorporated one or two Syriac chants during Malayalam Qurbana. With the help of Fr. Joseph Pathil and Fr. Saji Mattathil (Aramaic Project-71), Binu-Deepa team mastered the art of singing Solemn Qurbana in Syriac. That was a turning point in their life. Singing Syriac chants, they say, help them experience the inner dynamics of the Qurbana better than what they get during Qurbana in Malayalam. The seemingly simple melodies, they believe, bring about a serene interiority. They think that these melodies could have come from only veteran composers (unfortunately, we do not know their names). We decided to post this segment from a full interview that we posted in December 2017, because at that time we had less than a thousand subscribers. Since then, the conversation has received great momentum as the current number of subscription shows. We thought it would be interesting to our new subscribers to have a discussion on the uniqueness of the Syriac music tradition. Joseph J. Palackal, CMI 13 September 2020 |
9:22 | Recorded on 17-Aug-2017 at Binu and Deepa 's residence Mathirappuzha house ,Amalagiri, Kottayam, Kerala | |
77 |
Syriac Christian Wedding in India Here is a chapter from the annals of the history of the St. Thomas Christians in Kerala, India. Caution: Although the film was made in 1985, it is not a representation of Christian marriage in Kerala, in the 20th century; rather, it recreates a traditional wedding from a bygone era, when youngsters were given in marriage as soon as they reached puberty. The celebrations included several rituals at home and at church (see under Topics, below). Songs (in Malayalam and Syriac) and dance and instrumental music were essential components of the four-day long celebrations. Some of the rituals seen in the film continue to be a part of the marriage ceremony (for example, the tying of thali, a heart shaped gold pendant with cross embossed on it) of all the St. Thomas Christians even today. A few of those rituals and songs, however, are extant only among the Knanaya Christians, an endogamous community among the St. Thomas Christians. The film is the result of a concerted efforts of a team of scholars and experts led by Rev. Dr. Jacob Vellian, Mr. Churmmar Choodal, and Rev. Dr. Jacob Kollaprampil. We are grateful to them for giving an audio visual representation of the songs, customs and practices that are specific to the St. Thomas Christians in Kerala. The film is uploaded here as part of the Aramaic Project because it sheds light on the religious practices during the Aramaic era of the Indian Christians. The film includes the singing of two Syriac chants, “Qandisa alaha” and “Bar Mariyam” and the instrumental version of another popular Syriac chant, “Sagdinan mar.” The CMSIndia is grateful to Fr. Jacob Vellian, the founder director of Hadusa, for granting permission to upload this film on its YouTube channel. Topics: 1. Image and voice of Dr. Chummar Choondal (1:48)
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24 : 37 | Archived Film documentary produced iin 1985 | |
76 |
Dr. Joseph J. Palackal, CMI on Pravasi Channel, USA Manohar Thomas in conversation with Dr. Joseph J. Palackal, CMI. This hour-long interview is interesting because of the wide range of topics that it covers. Manohar Thomas is a well-known social leader among the Keralites in New York, and is well versed in the literary and cultural history of Kerala. It was the Aramaic Project that caught his attention and led to his decision to interview me. His master plan for the interview helped the flow of this candid and comfortable conversation on topics ranging from my early exposure to music at home, the Christian family background, the inspiration from Palackal Thoma Malpan (1760-1841), and to my revered Guru, Prof. N. V. Patwardhan. Manohar directed the conversation to situate the relevance of the Aramaic Project in the larger context of the cultural history of India. The question and the answer on my singing OM in my first Long Playing record of “Christian Bhajans” (1979) took an unexpected turn. I am immensely grateful to Sunil-Tristar, Manohar Thomas and the Pravasi Channel for organizing this interview and televising it on the Pravasi Channel. I already received many positive feedbacks from viewers in USA and Canada. Publication of this program on YouTube will help reach to a larger international audience. Thank you, Manohar Thomas and Sunil-Tristar. Dr. Joseph J. Palackal, CMINew York 20 October 2017 Topics
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1:09:16 |
Recorded at St. Stanislaus Kostka Church, Maspeth, New York. 3 April 2017 |
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76a |
"India is not a country, but a concept of coexistence." - Dr. Joseph J. Palackal, CMI Extract From Dr. Joseph J. Palackal's interview on Pravasi Channel ,USA |
7:30 |
Recorded at St. Stanislaus Kostka Church, Maspeth, New York. 3 April 2017 |
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76b |
"If OM is Hindu, electricity is Christian." - Dr. Joseph J. Palackal, CMI Extract From Dr. Joseph J. Palackal's interview on Pravasi Channel, USA |
7:53
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Recorded at St. Stanislaus Kostka Church, Maspeth, New York. 3 April 2017 |
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75 | Fr. Bijo Kochadampallil speaks on three-day lent of the St. Thomas Christians with Dr. Joseph J. Palackal, CMI
This conversation on Mūnnu nōmbu (Malayalam, three-day lent/fast) of the St. Thomas Christians is a useful resource for researchers on the history of Indian Christianity, Eastern Syriac liturgy, as well as Syriac music. The three-day lent consists of fasting, prayers, readings, chants, and genuflections with an all-embracing theme of repentance. The time frame of three days is in reference to the time prophet Jonah spent inside the belly of the whale, during his reluctant mission to Nineveh to announce the message of repentance (Jonah 2:1-11). The prayers and chants are taken from the Hudra (book of the Hours in Syriac). The observance of the three-day fast/lent takes place in the form of a preparation (18 days) before the great fast/lent leading up to Easter. It is not yet clear at what point in history the St. Thomas Christians in Kerala adapted this pious practice of the Syriac Christians in West Asia. We have several documents from the sixteenth century indicating how the Portuguese missionaries were surprised by the asceticism associated with this ritual of the St. Thomas Christians. Until the second half of the nineteenth century, most of the Syriac churches of the St. Thomas Christians observed the three-day lent. At present, only the Assyrian Church of the East (Thrissur) and the Knanaya communities follow the tradition. During this period, the Syriac prayers and chants were translated into Malayalam. The Malayalam versions of the hymns are set to the original melodies associated with the Syriac texts. My interest in this topic increased during a conversation with Fr. Saneesh at the Damasceno College in Rome, on 18 March 2017 (I was at the College to conduct a one-day seminar on the Syriac heritage of the Syro Malabar Church). Fr. Saneesh shared his experience of conducting the service for the Knanaya community in Rome (the video includes except from the recording of the service on 5 February 2016). I had already recorded songs of the three-day lent in the Assyrian Church of the East in Thrissur in 1996, during fieldwork for my doctoral dissertation. I intend to upload those melodies on the CMSIndia channel in the near future. The following questions may be useful for future researchers. How similar or different are the melodies of the Malayalam version from the original Syriac version? How similar or different are the melodies available in the recorded versions from the Knanaya community and the Assyrian Church of the East ? How similar or different are the melodies from those of the Hours and Qurbana? Do the Chaldean Christians in West Asia continue the tradition? If yes, how similar are the texts and music from those of the St. Thomas Christians in India? What are the reasons for the gradual disappearance of this tradition from the Syro Malabar community in the second half of the nineteenth century? Answers to these and other questions might enhance our understanding of the Christian musical history in India. Meanwhile, we are grateful to Fr. Bijo Kochadampallil for sharing the fruits of his studies so far on this topic. Meanwhile, Resources:
Joseph J. Palackal |
22:20 | St. John Damasceno College, Via Boccea, Rome. 21-March-2017 |
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74 | Dr. George Kaniyarakath CMI (Scripture Scholar) in conversation with Dr. Joseph J. Palackal, CMI
Reference to this unique song came about in the form of a spontaneous outburst from Dr. George Kaniarakath, CMI, when we met after many years at the CMI house at Via Martino in Rome, on 20 March 2017. The song has a long history that dates back to the pre-Portuguese era of the St. Thomas Christians in Kerala. Significantly, the song is assigned to the choir, while the celebrant invokes the Holy Spirit during Epiclesis. The Portuguese missionaries did not agree to the theological content of the text, as well as its placement within the liturgy during Epiclesis. Dr. Kaniarakath explains the reason behind the controversy, contrasting approaches, Western and Eastern, to the theology of the Eucharistic liturgy. In any case, the song was removed from the post-Udayamperur (1599) edition of the missal. Dr. Kaniarakath was kind enough to share as much information he has on the song. He could recall only the opening verse; that too, he was not sure of the exact words. The melody, however, is the same as that of “Slīwā dahwā lan” that we sing even today (see Aramaic Project 42 ). Because of its historical and theological significance, I hope a future seminarian or researcher will take interest to further explore the story of this song. Joseph J. Palackal, CMI |
15:46 | St. John Damasceno College, Via Boccea, Rome. 21-March-2017 |
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73 | Trilingual (English, Syriac, Malayalam) mass at the Syro Malabar Cathedral Church in Chicago on St. Thomas Day 2017. Celebrant: Rev. Dr. Joseph J. Palackal, CMI. The entire congregation warms up to the melody of Qandisa Alaha. | 7:10 |
Mar Thoma Sleeha Cathedral, Chicago St. Thomas Day3-July-2017 |
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72 | Q & A session with Dr. Joseph J. Palackal C.M.I., on Christian Musicology during the Seminar at St. John Damasceno College, Via Boccea, Rome , on 18 March 2017. | 1:13:29 | 18 March 2017. | |
71 | Rev. Fr. Saji Mattathil in conversation with Dr. Joseph J. Palackal at St. John Damasceno College, Via Boccea, Rome | 48:08 | St. John Damasceno College, Via Boccea, Rome. 19 Mach 2017 | |
71a | Fr. Varghese (Saji) Mattathil sings "Walalam Almeen." A unique chant from Raza | 8:32 | St. John Damasceno College, Via Boccea, Rome. 19 Mach 2017 | |
71b | Fr. Saji (Varghese Mattathil) sings the Syriac alphabet | 4:26 | St. John Damasceno College, Via Boccea, Rome. 19 Mach 2017 |