Aramaic Project

No. 260 to 251 - Interviews and Performances - Video List

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Aramaic Project Number Description Duration Date of recording Place of Recording Video
AP 260 "Methen tennes l'marya alaha hailsana": Syriac Chant& Interpretation of CMI logo

Melody, music arrangement, and vocal: Bro. Thomas Kappil Puthusseril, CMI Comments: Rev. Dr. Thomas Kalayil, CMI

Here is a combination of two remarkable recordings of the Syriac text of the CMI logo. They both originated at Dharmaram College in Bengaluru, Bro. Thomas Kappil Puthusseril, CMI composed a haunting melody to the five-word motto and made an audio recording in 2021with the help of his friends at Dharmaram College, the major seminary of the CMI congregation. The Aramaic Project team had already taken note of this logo and emblem that are etched on the ground in cement near the dining hall of Dharmaram. In 2014, we asked Dr. Thomas Kalayil, CMI, Professor and scholar of the Syriac language to give an explanation of the history of this logo. Fr. Kalayil did it masterfully. Fr. Kalayil does not accept the traditional translation of this text. Instead, he has a different translation based on his interpretation of the words, "Maarya" and "Hailtaana." Fr. Kalayil's interpretation is useful for biblical studies. We have used Fr. Kalayil's translation. The recording that Kuriachan Palackal made in 2014 has been in the archive. We thought this was the opportune time to combine the two events into one video. We hope this will be very useful for the students of history.

Bro. Thomas’s melody provides an added dimension to the sacred text. This can be used for non-liturgical celebrations as well.

We are grateful to the youthful team at Dharmaram for such experimental compositions as this.

Joseph J. Palackal, CMI
New York
22 January 2022

7:57 2014 Dharmaram College, Bengaluru
AP 259

Revival of Crowning ceremony . Syro Malabar wedding of Joseph & Jiss, Kalathil

Note:

The crowning of the bride and groom used to be a part of the wedding ceremony among the Syro Malabar Catholics. At some point in history, crowning was removed. Recently, young Syro Malabar Catholics are taking the initiative to reinstate the ceremony into their wedding rituals; the many local Vicars seem to be going along with the wishes of the bride and groom. If the trend continues, the hierarchy may have to officially reinstate the ritual into the wedding ceremony. The video shows how the ancient traditions are finding a place in their conversations. We wish the very best to Joseph and Jiss Kalathil for a long and happy married life and many blessings from God on their family.

Joseph J. Palackal, CMI
New York
6 January 2022

6:34 14 Nov 2021 St. Mary's Metropolitan Cathedral, Changanaserry
AP 258

Palackal Thoma Malpan Anusmaranam. Pallippuram. 16 January 2021

Memorial oration on the Saintly Palackal Thoma Malpan by Rev. Dr. Benny Nalkkara, CMI Pallippuram. 21 December 2021

Note: Rev. Dr. Benny Nalkkara, CMI, the provincial of the Sacred Heart Province of the Carmelites of May Immaculate, gave the best memorial speech on the Saintly Palackal Thoma Malpan (c.1780-184). The occasion was the 180th death anniversary of the Malpan. Fr. Nalkkara made the oration standing next to the tomb of the Malpan on the southern side of the main altar of St. Mary’s Forane Church. Fr. Nalkkara made an honest appraisal of the life and works of the Malpan. He based his arguments on the testimony that Saint Chavara who was the protégé of the Malpan, incorporated in the form of a biography into the Chronicles (Malayalam). Saint Chavara considered Palackal Malpan a saint. The Malpan played a crucial role in discerning the priestly vocation of boy Chavara and treated St. Chavara as a son and heir. The speech stands out on the intellectual honesty and a careful reading of the Chronicles of St. Chavara. Fr. Nalkkara admits that the Kerala Church and the CMI congregation have not paid enough attention to the legacy of Palackal Malpan and the prominent role the Malpan played in the founding of the CMI congregation. Pallippuram seminary that the Malpan started became a trial run for the Mannanam seminary, and the rest is history. We are grateful to Dr. Nalkkara for the truthful verbal painting of Palackal Malpan who is the heavenly patron of the Christian Musicological Society of India.

Joseph J Palackal, CMI
New York
21 December 2021

30:55  

St. Mary's Forane Church, Pallipuram

AP 257

റൂഹാ ദ്ഖുദ്‌ശാ - New Syriac Hymn from Dharmaram College, Bengaluru.

Note: This video is yet another sample of a remarkable development in the history of Syriac chants in the Syro Malabar Church in the twenty-first century. The talented team of young seminarians at Dharmaram College in Bengaluru, under the leadership of Bro. Thomas Kappil, produced a series of new Syriac songs. It is a bold initiative. Earlier, we posted the Dhkrana song for St. Thomas Day, 3 July 2021 in Aramaic Project 240 https://youtu.be/OGWArboEQoE. Encouraged by the unexpected enthusiastic response to the video encouraged the team to go further with new compositions. This video is the first among a series of videos. The lyrics are new. The music is in a contemporary cinematic style, far from the traditional Syriac style of music. Although the text is about the Holy Ruha, the song's purpose is not liturgical but the pleasure of performance and aesthetic enjoyment. That, too, is a new development in the history of Syriac chants. Until now, the various categories of Syriac chants existed in the liturgy. Here we have a Syriac chant for entertainment. The Dharmaram team deserves our congratulations and appreciation for taking Syriac chants into a new realm. They are also initiating a whole new conversation on the Syriac language and music. This video might become a source of inspiration to other contemporary composers to stretch the imagination to travel to unexplored territories of language, music, devotion, and entertainment.

Joseph J Palackal, CMI
New York
18 December 2021

Newly Written and Composed Syriac Hymn in praise of the Holy Ruha - റൂഹാ ദ്ഖുദ്‌ശാ by the youngsters of Dharmaram Vidya Kshetram (Congregation of the Carmelites Of Mary Immaculate) :

  • Lyrics & Music : Thomas Kappil Puthusseril, CMI.
  • Vocals : Wilson Chavara Kudilil, CMI. Framin Pallicka, CMI. Jackson Kalappurathottiyil, CMI. Joby Vadayattukuzhy, CMI.
  • Mixing : Frederic Chirayath, CMI. ( Dharmaram Studios)
  • Guidance : Dr. Thomas Kollamparambil, CMI. Dr. Paulachan Kochappilly, CMI.

Keywords - St. Josephs Province, Dharmaram College, Syriac ChantsDharmaramVidyaKshetram, CarmelitesOfMaryImmaculate, CMI, StJosephProvince, HolyRuh, Ruha, Roohadqudsa, HolySpirit, HolyGhost, Thomas_Kappil_Puthusseril, ThomasKappilCMI, Wilson_Chavara_Kudilil, WilsonChavaraCMI, Framin_Pallicka, FramilPallickaCMI, Jackson_Kalappurathottiyil, JacksonKCMI, Joby_Vadayattukuzhy, JobyVadayattukuzhyCMI, Frederic_Chirayath, FredericChirayathCMI, Dharmaram_Studio, Dr_Thomas_Kollamparambil_CMI, Dr_Paulachan_Kochappilly_CMI, RuhaOfTheMessiah, Ruha_Of_Peace, HolyRuha, FortressOfTheChurch, StrengthOfTheMartyrs, ConfidenceOfTheWise, ChristianMusicology, ChristianMusic, IndianandChristianity, IndianMusic, ChristianityinIndia, Syriac_Songs, SyriacHymns, ChristianMusicologicalSocietyOfIndia, TheCMSIndia

3:00    
AP 256

ആലങ്ങാട് മാഹാത്മ്യം : Part 1- ആലങ്ങാട് സ്ലീവ. ALANGAD SLEEVA Fr. PAUL CHULLY.

This video draws attention to important material evidence of the presence of Eastern Christianity in India in the early Christian era. The movement of Christianity from West Asia to South India led to the transfer of religious and cultural artifacts. The ALANGAD CROSS (named after the town in the Ernakulam district of Kerala, India) indicates the presence of Christians from Persia (present-day Iran and Iraq) in the region. The Alangad Cross is a precursor to many other similar crosses in Kerala, Chennai, and Goa (see Martin Antony). Historians have not resolved several issues related to this Cross, such as the date and place of origin and a conclusive reading of the Persian text. Fr. Paul Chully, the current Vicar of the Marth Maryam Parish is taking an interest to preserve this Cross and initiate a conversation on its historical significance. We hope this video will catch the attention of Church historians and archaeologists in India

See more details in the following two articles by Martin Antonty: http://www.thecmsindia.org/researches...
http://www.thecmsindia.org/researches...

Joseph J Palackal, CMI
New York
30 November 2021

Keywords

India, Indian Christianity, India and Christianity, St. Thomas, St. Thomas Christians, St. Thomas Cross, Sleeva, Alangad, Alangad Sleeva, Paul Chully, Fr. Paul Chully, St. Marys Church, St. Marys Church Alangad, Kerala Cradle Of Christianity, Josima, Joseph, Josima Joseph, Persian Cross, PaLahlvi Language, Persia, Kodungalloor, Kottakkav, Syriac,Heritage

4:43   St. Mary's Church, Alangad d
AP 256 A

ആലങ്ങാട് മാഹാത്മ്യം PART II. ആലങ്ങാട് ഭാരതസഭയുടെ തറവാട്! by Fr. Paul Chully.

History of Alangad Old Marth Maryam Nazrani Syro Malabar Catholic Church. “Beloved Nazranis wake up and be enlightened”

History of Alangad Old Marth Maryam Nazrani Syro Malabar Catholic Church. “Beloved Nazranis wake up and be enlightened” Note: In the history of Christianity in India (Hendo) St Mary’s (Marth Maryam) Syro Malabar catholic church has its prime importance. The history of the people of Alangad; especially the history of Marthoma Nazranis, ancient church, and memorable incidents that happened in this church had been documented in several historical pieces of literature. Hence any studies regarding churches of India and Nazranis of Malabar will be incomplete if Alangad Marth Maryam church and its communities are not taken under consideration. It is a well-known fact that Alangad Marth Maryam church and land are very much intermixed with the history of Christianity in India. Only a handful of ancient Syrian churches still exists today that were built prior to the arrival of Portuguese missionaries in Malabar during the 16th century. Among those churches, our Alangad Marth Maryam church was established in AD 1300 as per the available historical documents. What else could be the sole reason for Nazranis of Alangad to build this enormous church during those times, other than their deep routed faith in GOD and LORD, their Nazarene ISHO MESSIAH, and obligation in sharing the witness of faith to younger generations. During the time of the monarchial system of governance in Malabar, if a non-Christian king of Alangad gave consent to the people of Alangad to build this magnanimous church; then it is only because of the upper hand of our ancestors in the king’s court and their strong financial background along with the status of the high esteem in our society. Hence, in that case, the memory of our ancestral pride, social status, and influence that has been etched in golden letters over this great church can only be remembered by preserving this church for forthcoming generations. There is no other ancient structure in Alangad or nearby places that is as supreme and majestic as our Alangad old Marth Maryam church. As per the findings and written documents of western travelers, there was no other Church as big as the old Alangad church prior to the 19th century. Even during 20th-century majority of homes in Alangad were constructed with palm roofs and mud or timber walls, still, Alangad church was the only building that had its wall built completely with bricks and the wall measured to be around 4-5 feet in thickness. Now this ancient and famous church of Alangad is not just the dome of faith for the people of Alangad, but also to numerous ancestors and their generations who fled to other parts of Malabar from Alangad during the infamous invasion of the Tippu sultan. In India, especially over the region of Kerala, there are numerous beliefs of glorious apparitions of Mother Mary at different locations. The faithful people truly believe it and many of those landmarks have been declared as pilgrimage centers by the church. Above all, only the ancient Marth Maryam church of Alangad got the substantiating written documented proof of apparition of our Marth Maryam (Mother Mary). Mother Mary is believed to have appeared at Alangad Marth Maryam Church in AD 1599 and it was documented by Metropolitan Archbishop of Goa His grace Menezes during his missionary visit in Malabar during that time frame. During the time of fierce battle between King of Paravoor and King of Alangad the Nair army from Paravur advanced to Alangad to attack Nazrani families and people of Alangad. The vast majority of the congregation including the majority of women and kids took refuge in the old Marth Maryam church. While the Paravoor army tried to torch the church and its people; a stark luminous ray appeared above the church, which in turn made the army frightened and in turn retreated to Paravur. Thus Marth Maryam interceded and got her people and church saved from severe destruction. This incident was documented in the personal diary of Archbishop Menezes after His grace visited the church the very next day, which was later included in the famous book Jornada by its author Guvaya in AD 1606. During the horrific period of the invasion of the southern Malabar region by Tippu sultan in AD 1790, the terrified people of Alangad fled to different parts of Malabar. Barbarous king and his army tried to torch the church but only the roof got burned. Neither the fortified walls nor the façade got any damage. The replica of apostle Mar Luke’s painting of Mother Mary placed over the Madbaha remained intact. After the failed attempt of Tippu and his army to capture the entire Malabar the faithful congregation of Alangad restored the entire church to its old beauty.

Fr. Paul Chully, Vicar

Translated by: Jose K. George.

Keywords : indianchristianity, syromalabarchurch, alangad, IndiaandChristianity, ChristianMusicologicalSocietyofIndia, StThomasChristians, StThomasandIndia, StThomasSleeva, AlangadSleeva

12:41   St. Mary's Church, Alangad d
AP 256 B

മാർ ജോസഫ് കരിയാറ്റി- 1st Metropolitan Archbishop of St Thomas Christians

Mar Joseph Kariattil (1742-1786), the First Indigenous Metropolitan Archbishop of St. Thomas Christians in Kerala. Kariattil Mar Ouseph ( Mar Joseph Kariattil) was the first native Indian to be appointed as Metropolitan of Kodungalloor (Cranganore) for Syrian Catholics in the territory now comprising Kerala,

India Kariattil Malpan took great efforts for the reunion of the Saint Thomas Christians (also known as Syriac Christians or Mar Thoma Nazranis) who had split following the Coonen Cross Oath (1653). He made the historic journey to Rome in 1778 together with Paremmakkal Thoma Kathanar to represent the matter with the church authorities. Impressed with the humility, personality, religious zeal, and intellect of Kariattil Joseph Malpan, he was appointed as the Archbishop of Kodungalloor at Lisbon on 16 July 1782. On 17 February 1783 he was consecrated as Archbishop of Cranganore (Kodungalloor). . On 16 December 1782 Pope Pius VI confirmed his appointment as Metropolitan Archbishop of Archdiocese of Kodungalloor, thus imprinting in the history of the Archdiocese as the first native Archbishop of Mar Thoma Nazranis of Malankara. On 17 March 1783, he revived the scared Pallium of Metropolitan Archbishop from Pope Pius VI. At the same time, he also received all the privileges and authority to unite Mar Thoma VI and the Puthenkoor faction to Catholic Church. However, on his way back to India, he died at Goa on 10 September 1786. He was buried there and later his mortal remains were transferred to Alangad and were re-interred at St. Mary's Syro-Malabar Catholic Church, Alangad in 1961.

Keywords

Alangad St marys_Church ,Alangad Church ,Alangad Martha Mariam Church ,Kariyattil ,Syromalabar Church ,St Thomas ,St Thomas Christians ,Indian Christianity ,ApostleThomas ,Kerala ,Christianity ,Christianity In India ,India and Christianity

12:44   St. Mary's Church, Alangad d
AP 255

പരിശുദ്ധ റൂഹായും വയലാറും : Syriac Heritage & Faith Formation by Fr. JPalackal

SYRIAC HERITAGE & FAITH FORMATION of SYRO MALABAR CATHOLICS: Excerpts from Denha Endowmen Lecture 2014 by Dr. Joseph J. Palackal, CMI. at Dharmaram Vidya Kshetra, Bangaluru. 19 July, 2014.

"Now, let us turn to some not-so-good news. Forty-two years after the Syriac liturgy was translated into Malayalam, we are still struggling to transfer the Aramaic way of thinking into the vernacular. This requires the transference of ideas and concepts that originated in the cultural context of a particular people in West Asia to the people who went through a different history in South India. Therefore, it is time to delve deep into the roots of the problem of transferring a way of thinking, as opposed to translating words from one language to another, from one cultural setting to another. Let us examine a few words in the prayer vocabulary of the Syro Malabar Catholics. The prayer vocabulary is the common man’s encyclopedia of theology. What I will try to do for the next few minutes is to show how we have failed to transfer the Aramaic way of thinking into the vernacular by highlighting certain Syriac words and expressions that were disregarded during the process of translating the liturgical texts. I would like to argue in favor of adopting some of those words and terms into the vernacular. You are completely free to disagree with me; such disagreements can only be beneficial for the ongoing discourse on our heritage.

In every language there are words that define themselves by their sounds, i. e., the sound of the word itself is its meaning. Such words emerge out of the communal wisdom of the speakers of a language accumulated over an extended period of time. Usually, these words are understood in exactly the same way by all the speakers of the same language across the board. The most familiar example from India is the Sanskrit term, santhi. The very utterance of the word creates the effect and the affect. It is understood by the listener instantly; interpretations are unnecessary. One such example from the Aramaic lexicon is the word ru?, which literally means “breath.” The utterance of this word requires a special use of air and energy that explicates the meaning. Ru? is pre-language, even pre-word; it is pre-OM. Ruh is the raw material with which words and meanings are constructed. In the beginning, was the ru?, ru? was with God, ru? was God (do not worry, I just made that up!). Our Tamil-speaking forefathers in Kerala adopted the word Ruha into their prayer vocabulary. Even after Syriac literacy declined considerably, they retained this word. Our parents’ generation said the minor doxology as Bawakkum puth?anum ruhadaqqudisakkum sthuthiyayrikka??e. They did not try to translate ruha into Tamil. In the 1960s, however, the word ruh was translated as atmaw (meaning, “soul,” that which sustains life) or arupi (“that which is formless”). Thus, currently, we say the minor doxology as Pithawinum puth?anum parisudhatmawinum sthuthi. Both words, atmaw and arupi are insufficient to convey the original sense of the word ru? or ruhâ; both words lack the magic that comes from the combination of sound and sense. The first is a synonym, the second is a derivative. One might wonder whether our forefathers were smarter than the members of our liturgical committee.

An example from the lyrics of a Malayalam movie song by a famous poet might support this argument. Shri Vayalar Rama Varma (1928-1975) wrote a Christian prayer song for the film, Makane Ninakkuwen?i. The song starts with the minor doxology, Glory be to the Father, the Son, and the Holy Spirit. The song starts thus: Bawakkum puthranum parisudha ruhakkum sthuthiyayirikkatte, eppozhum sthuthiyayirikkatte. Mr. G. Devarajan (1924-2006) composed the melody, which was recorded in the voice of P. Susheela. Shri Vayalar, a Hindu, was well versed in the Christian folklore of Kerala. The film was released in 1971, nine years after the Syro Malabar Church translated the liturgy into Malayalam. The minor doxology, by that time, was already on the lips of every Catholic in Kerala as 'Pitawinum puthranum parisudhatmawinum sthuthi'. Instead of following the popular version, Shri Vayalar decided to retain the Aramaic word ru?â. Both words 'parisudhatmaw' and 'parisudharupi' would have been a perfect fit to the melody. Vayalar knew, however, that both 'atmaw' and 'arupi' had accumulated different connotations, and might detract the listeners from the sense of the original Aramaic word ru?â. He knew that words carried not only particular meanings, but also collective memories of the speakers of the language. In retrospect, one can only appreciate the wisdom of Shri Vayalar Rama Varma.

Joseph J. Palackal, CMI.
Bengaluru,
19 July, 2014.

Keywords- Dharamaram College, Dharmaram Vidya Kshetra ,Bangalore, Bangaluru, Dharmaram ,SyroMalabarChurch ,Indian Christianity ,Dr Palackal ,J palackal ,MinorDoxology ,Christianity and India

6:55 19 July 2014 Dharmaram Vidya Kshetra, Bangaluru
AP 254

EMMA LIZ ROBIN: An asset to the SYRO Malabar Church in the USA

Emma Liz Robin, daughter of Robin J. Kurian & Rani Robin in conversation with Dr. Joseph J. Palackal, CMI at St. Alphonsa Syro Malabar Catholic Church, Coppell, Texas, USA.

Note:

We are privileged to introduce the ten-year-old Emma Liz Robin, a talented singer, to our YouTube audience and induct her into our digital library. Emma has taken up an interest in learning Syriac chants. She made her debut on the Rooha Media channel by singing a Marian hymn. This video showcases her background and her way of thinking about Syriac chants. Emma inherited the interest from her father. Emma’s family prays Ramsa (evening prayer) at home in English but sings the Resurrection hymn and the Trisagion in Syriac. Emma’s siblings, too, join with her; they are more tuned to the melody than the text. Emma plans to learn more chants in Syriac. Fortunately, Emma’s parish priest at the Syro Malabar Church at Coppell, Dallas, Texas, Fr. Jacob Christy, also is a Syriac tradition promoter. I had the opportunity twice to visit the parish and teach Syriac chants to the Sunday school children at his invitation. The children sing the Trisagion in Syriac during their Sunday Qurbana.

We hope this video will inspire more children to tune themselves to the Syriac heritage of the Syro Malabar Church. From that perspective, Emma is already an asset to the Syro Malabar Church. We wish Emma the very best and thank her parents Robin Kurian and Rani Robin, who were the source of inspiration, for encouraging Emma and allowing us to post this video on our channel.

Joseph J. Palackal, CMI
New York
01 November, 2021

17:20 26 July 2021 St. Alphonsa Syro Malabar Catholic Church, Coppell, Texas
AP 253

Fr. Abel's Voice. A Res Qala (Model Melody). Syriac and Malayalam versions.

A unique voice that shall never die. "Eramarmak Mar Malka." Popular Res Qala , Syriac and Malayalam versions in the voice of Fr. Abel, CMI (1920-2001). See Aramaic Project-11 https://youtu.be/SKFUdi8_G1k. Recorded at Kalabhavan studios, December 1999.

We post this video in tribute to the 20th death anniversary of Fr. Abel Periyappuram, CMI (27 October 2021). Fr. Abels's voice is a transitional link between two eras, the Syriac era of the Syro Malabar Church and the middle of the twentieth century. We post this segment here as a tribute to the legendary Priest and his singing voice.

Note on Aramaic Project-11 Here is a sound testimony to a glorious past in the history of the Syro Malabar Church. Fr. Abel, who played a significant role in the transition of the Syriac liturgy into Malayalam, in the 1960s, sings the model melodies he chose for the liturgy of the Hours in Malayalam. Fr. Abel recorded these melodies in his own voice at my request. I wanted to study these melodies for my doctoral dissertation at the City University of New York (2005). Transcription of these model melodies is part of Chapter six in my doctoral dissertation. In this recording, we can hear his singing voice as well as is speaking voice in the Introduction. Fr. Abel transcribed the chant texts in Malayalam script. He also wrote a personal letter to me with his comments on the chants. We have posted the manuscript and the letter in the Resources of Researchers section on the website of www.thecmsindia.org. See my note on 008-167 http://thecmsindia.org/researches/res.... This recording and the manuscript are first-class relics from the past. They are unique treasures of the Syro Malabar Church and a great resource for researchers. : Here is a sound testimony to a glorious past in the history of the Syro Malabar Church. Fr. Abel, who played a significant role in the transition of the Syriac liturgy into Malayalam, in the 1960s, sings the model melodies he chose for the liturgy of the Hours in Malayalam. Fr. Abel recorded these melodies in his own voice at my request. I wanted to study these melodies for my doctoral dissertation at the City University of New York (2005). Transcription of these model melodies is part of Chapter six in my doctoral dissertation. In this recording, we can hear his singing voice as well as is speaking voice in the Introduction. Fr. Abel transcribed the chant texts in Malayalam script. He also wrote a personal letter to me with his comments on the chants. We have posted the manuscript and the letter in the Resources of Researchers section on the website of www.thecmsindia.org. See my note on 008-167 http://thecmsindia.org/researches/res.... This recording and the manuscript are first-class relics from the past. They are unique treasures of the Syro Malabar Church and a great resource for researchers.

Joseph J. Palackal, CMI
New York
26 October 2021

2:10 December 1999 Recorded at Kalabhavan studios  
AP 253 A

Syriac and Malayalam versions of Laika Ezal/ ewideyolikkum Karthawe Nin.

Fr. Abel Periyappuram, CMI (1920-2001) sings Syriac and Malayalam versions of Model Melody, Laika Ezal Min Ruhak.

Note: Fortunately, Fr. Abel left us a great legacy of audio recordings of the Syriac and Malayalam versions of the model melodies (Res Qala) in his voice. The recordings took place at three different locations and occasions. The first recording took place in 1997. This was at my request. I needed those melodies for my doctoral dissertation. All the recordings are in our library.

See:

Aramaic project-11 (Kochi, December 1997) https://youtu.be/SKFUdi8_G1k ; Aramaic Project-12 (New York 22 July 1998) https://youtu.be/WAgiy8eVRw0 ; Aramaic Project-13 (Kochi 23 August 2001) https://youtu.be/4S3QAPWH-PY; Aramaic Project-14 (New York 20 September 1997) https://youtu.be/W0ANNKMTJq0

The first recording took place in 1997. This was at my request. I needed those melodies for my doctoral dissertation. Chapter VI, Model Melodies of the Syro Malabar Church, is based on Fr. Abel's version of the model melodies. On 27 August 1999, Fr. Abel was kind enough to participate in the recording of selected Syriac chants for the first commercial release of an audio CD of Syriac chants from India (Qambel Maran: Syriac Chants from South India, PAN Records, Netherlands, 2002 http://www.thecmsindia.org/researches...). The title chant in the CD is in Fr. Abel’s voice. We also have copies of the Syriac chants in the Malayalam script (http://www.thecmsindia.org/StaticFile...) chants in Malayalam in the handwriting of Fr. Abel. Fr. Abel wrote down the texts of the chant on scrap paper and recorded (see Aramaic Project-11) the chants using those manuscripts.

Joseph J. Palackal, CMI
New York
11 Nov 2021

3:07 December 1999 Recorded at Kalabhavan studios, Kochi
AP 253 B

Rēš Qālā (Model Melody): യാദാ ഹൂശാവെ. Yādā Hūšāwē sung by Fr. Paul Kodamullil

Note: Here is another example of the Rēš Qālā (Model melody), Yādā Hūšāwē, in the voice of a celebrated singer, Fr. Paul Kodamullil from the diocese of Kothamangalam. Res Qala is a melodic and metric model to generate new compositions. Transmission of the Res Qala system was through oral tradition. Therefore, individual and regional variations were inevitable. We are presenting different renditions of the same Res Qala by different priests for students and scholars to evaluate the extent of variations of the same melody. This recording was for the purpose of my doctoral dissertation. The sixth chapter of the dissertation is on the topic of the use of the Malayalam version of the Res Qala in the Syro Malabar Church. The chapter includes nineteen melodies in staff notation that Fr. Abel Periyappuram sang for my study. In this video, we get an opportunity to listen to the same melody in the voice of a diocesan priest. References Aramaic Project-3 https://youtu.be/tE2eukV0U8s Aramaic Project-172 https://youtu.be/wwwhJUsZi6I [Note on Aramaic Project-172] We are indeed fortunate to have this recording of Solemn Qurbana by Fr. Paul Kodamullil (d. 2019). This is one of the very few recordings available of the pre-1962 version of the solemn Qurbana. Fr. Kodamullil was a celebrated singer, who was gifted with a powerful and resonant voice. His vocal style is reminiscent of the pre-amplification era when singers had to reach out to large audiences without the aid of a microphone or acoustic amphitheaters. During his active years, Fr. Kodamullil used to be sought after to be the celebrant at solemn sung mass during parish festivals. This recording was originally published on a pre-recorded cassette. The digital transfer has adversely affected the speed of performance and, consequently, the quality of voice. We can hear Fr. Kodamullil's live voice in Aramaic Project-3. The short introduction In this recording gives us a glimpse of Fr. Kodamullil's speaking voice. Here is another example of the Rēš Qālā (Model melody), Yādā Hūšāwē, in the voice of a celebrated singer, Fr. Paul Kodamullil from the diocese of Kothamangalam. Res Qala is a melodic and metric model to generate new compositions. Transmission of the Res Qala system was through oral tradition. Therefore, individual and regional variations were inevitable. We are presenting different renditions of the same Res Qala by different priests for students and scholars to evaluate the extent of variations of the same melody. This recording was for the purpose of my doctoral dissertation. The sixth chapter of the dissertation is on the topic of the use of the Malayalam version of the Res Qala in the Syro Malabar Church. The chapter includes nineteen melodies in staff notation that Fr. Abel Periyappuram sang for my study. In this video, we get an opportunity to listen to the same melody in the voice of a diocesan priest. [From the note on Aramaic Project-3] Fr. Kodamullil was a living link to a unique period of time (the 1950s) and place (St. Joseph’s Pontifical Seminary at Mangalapuzha, Aluva) in the history of the Syriac chants in India. During this period, we see an unusual convergence of great and diverse musical talents and heightened musical activity at St. Joseph’s Seminary; Fr. Mathew Vadakel, an excellent singer and composer of Syriac chants, served as a professor. In this video, we hear the solemn melody of the Resurrection Hymn in Syriac, “Lāku mārā,” (To You O Lord) that Fr. Vadakel composed. Fr. Aurelius, OCD, a Carmelite from Spain and an expert in Western art music, was the music director and organist. The Seminary owned a huge pipe organ, probably the only one of its kind in India. Fr. Vadakel and Fr. Aurelius collaborated in publishing the musical notation (staff notation) of the solemn high mass in Syriac in 1954: kērala kaldāya suriyāni rīthile thirukkarma gīthangal (Liturgical songs of the Chaldeo-Syrian Rite of Kerala). The text layout is in the Malayalam script. The first part of the book contains a lesson plan in Malayalam to learn staff notation and western art music in general. The book was published by S. H. League, the publishing wing of the Seminary. Fr. Kodamullil was lucky to have had such great mentors. As choirmaster of the Seminary for seven years, he also had opportunities to interact closely with Fr. Vadakel and Fr. Aurelius in making decisions on the musical choices for the liturgical celebrations and the performances of the official Syriac Choir at the Seminary. A group photo from 1958 that is in the cherished possession of Fr. Kodamullil is the source for the images of Fr. Vadakel and Fr. Aurelius shown on this video.

Joseph J. Palackal, CMI
New York
18 November 2021


Please acknowledge TheCMSIndia.org and/or Joseph J. Palackal ( https://christianmusicologicalsociety...) when this video is used for academic or other purposes.

2:17

10 August 2000

St. Mary's Church,

Nagapuzha, Kerala

AP 252

An example of a "Coda" to 'Qandisa Alaha' by Mr. Paulose Pallikkara, Alangad.

A coda (an additional conclusion to an existing melody) to the Syriac chant - Qandisa Alaha from the Qurbana of Fr Cyril Thayyil at Alangad Church. Paulose Pallikkara, harmonist and lead vocalist. 9 September 2021.

In this video, we see yet another example of the extent of freedom the Syriac choirs enjoyed in the performance practice (i.e., the manner of performing a chant) of chants in the Syro Malabar Church. A case in point here is the performance practice of the Trisagion, Qandisa Alaha. Some choirs made Qandisa Alaha a musical event. After the three required iterations, the celebrant and the choir added a coda by elaborating on the main melody's melodic phrases. Sometimes, the choir and the celebrant did this in a call-response style. We have an interesting example from a recording by Fr. Probus Perumalil, CMI (1922-2009), from the 1980s (see Aramaic Project-119,https://youtu.be/8QiIz383dss, 19:60-20:40). In this video, the lead singer replaced the third iteration of the chant with the coda. The coda is sung without percussive accompaniment. Paulose Pallikkara, the lead singer, said that he learned the melody and the style from a celebrated singer of Syriac Qurbana, Fr. Sebastian Sankoorikal (1935-2021). We have in our digital library a recording of Fr. Sankoorikal's version in Aramaic Project 175https://youtu.be/oC80Bak3V0 ,13:12 -15:10. The coda in this recording is different from what Paulose PallSikkara sings in this video. See a more recent version of the coda in Aramaic Project-66https://youtu.be/aJnk78G_bX4 In retrospect, the priests and the choirs enjoyed this kind of addition to the chants in performance that also showcased their musical talent.

References:

Joseph J. Palackal, CMI
New York
13 October 2021

Keywords : Syriac Chants, Indian Christianity ,Christian Songs ,India And Christianity ,Indian Music ,Indian Songs, Fr Cyril Thayyil, Paulose Pallikkara ,Thomas Cheerankal, Lissy Augustine ,Thomas Padayatty ,Syriac Qurbana, Bilngual Qurbana ,Suriyani Qurbana, Suriyani Geethangal ,Syriac Songs Alangad St Marys Church, Alangad ,Alangad Sleeva ,Alangad Kerala, Alangad India ,Fr Paul Chully ,Syro Malabar Church, Syro Malabar qurbana, Syriac Mass, Suriyani Mass

 

1:55 9 Sept 2021 St. Mary's (MarthMariam) Church, Alangad
Ap 252c

Introducing Coda for Qandisa Alaha for the first time in America. 2013

Note:

This is the fourth video introducing different performances practices of the most popular Syriac chant, Qandisa Alaha. The videos cover samples from an extended period of time. The present video is a segment from a historical event of the Syro Malabar Qurbana in English at the largest Catholic Church in America, the Basilica and Cathedral of the Immaculate Conception in Washington, D. C., on Saturday, 7 September 2013 (https://youtu.be/aJnk78G_bX4 ). It was also the inauguration of the concept of a bilingual Qurbana, which has become part of the mainstay in 2021. Currently, many Syro Malabar communities include the Resurrection hymn and the Trisagion in Syriac in their Sunday Celebration of the Eucharist. The younger generation of Syro Malabar Catholics in America is becoming more and more comfortable with the idea of a bilingual Qurbana. We hope other priests will follow this example and make Qandisa Alaha more solemn by incorporating a coda. The addition of "Qandis, qandis, qandisat" ("Holy, holy, Thou art holy") is new. The idea dawned on me during the choir rehearsal for this Qurbana in New Jersey. And it sounds well with the application of dynamics. Those are the most important words in the original song of the angels in heaven.

Reference: https://youtu.be/aJnk78G_bX4

Joseph J. Palackal, CMI
New York
29 October 2021

2:11 7 September 2013

Basilica of National Shrine ,Washington D.C.

AP 252 D

Yet another coda for Qandisha Alaha. Houston, Texas. 1 August 2019

Bilingual (English/Syriac) Qurbana at the Syro Malabar Convention 2019 in Houston, Texas.

This is the final segment on a series of videos on the application of a coda to the traditional melody of Qandisa Alaha. The four videos covered four different periods and four different styles, depending on the musicality of the celebrants. It shows different possibilities. This video shows the cadence with the Angelic phrase, Qandis, Qandis, Qandisat ("Holy, Holy, Thou art Holy"). Such an addition along with the application of dynamics (gradually lowering the volume) is new. Also, the harmony for the main melody is the innovation of the Convention choir. We hope musically talented priests will take cues from these videos and design their own styles with the help of the choir members.

Joseph J. Palackal, CMI
New York
11 November 2021
2:23 1 August 2019 Syro Malabar National Convention, Houston, Texas
AP 251 Fr. Cyril Thayyil in conversation with the Alangad Syriac Choir

Note:

Fr. Cyril Thayyil has been kind enough to conduct this interview with the Syriac choir of the Marth Maryam Church at Alangad that has a unique place in the history of the St. Thomas Christians.

Here we are fortunate to have a document of the experience of another Syriac choir. There are not many churches that have the privilege of a Syriac choir. These singers are the last link to the Syriac era in church music in Kerala.

The singers have been candid in their opinions about the current status of liturgical music in the Syro Malabar churches and the immense value of the Syriac music heritage. They particularly agree on the emotive effect of the Syriac melodies which affect the singers even when they do not understand the meaning of the text. There is an inherent quality in this music that defies description in words.

We hope the younger generation of singers from the Syro Malabar communities will take efforts to learn the Syriac melodies and continue the Syriac tradition. We are grateful to Fr. Cyril Thayyil for making this interview possible.

Joseph J. Palackal, CMI
New York
02 October 2021

Keywords - Alangad Church, Syriac Singers Kerala, Syriac Heritage, Fr. Cyril Thayyil

4:07 9 Sept 2021 St. Mary's (MarthMariam) Church, Alangad
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