Interviews and Performances - Video List
Aramaic Project - I No. 60 to 51
|Aramaic Project Number||Description||Duration||Date and place of Recording||Video|
|60||Mar George Cardinal Alencherry in conversation with Dr. Joseph J. Palackal ., CMI.
Note: “My desire is that this Syriac tradition should be kept up”
|36:29||Major Arch Bishop’s House Ernakulam, July 15, 2016|
|60a||Cardinal George Alencherry entrusts Dr. Joseph J. Palackal with a new mission , CMI.||2:40|
|60b||Cardinal Alencherry compliments Dr. Joseph J. Palackal||
|60c||Cardinal George Alencherry sings the Trisagion, Qandisa Alaha||
|59a||Dr. Joseph J. Palackal sings and speaks about a unique Syriac chant from the funeral services for priests in the Syro Malabar Church. This is an excerpt from his lecture on "What is Christian Musicology of India?" at Dharmaram College, Bengaluru, on 18 July 2014.||
|59b||Dr. Joseph J. Palackal sings and speaks about the famous Syriac chant "Bar Maryam" This is an excerpt from his lecture on "What is Christian Musicology of India?" at Dharmaram College, Bengaluru, on 18 July 2014.||5:14|
|58||Fr. William Nellikkal's interview with Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. full interview. Broadcast in five parts.
01. The Syriac story of the Latin chant, "Pange Lingua" by St. Thomas Aquinas (1:45)
02. Musical analysis of the melody of "Kollan Dasne" (5:20)
03. "How did you arrive at the Aramaic Project?" (10:20)
04. On the Syriac-related activities at the Palluppuram Seminary of the saintly Palackal Thoma Malpan (13:56)
05. The history of Aramaic language in India (17:24)
06. The role of Fr. Abel Periyappuram, CMI in the transition of melodies from Syriac to Malayalam" (22:27)
07. The story of the Syriac and Malayalam versions of "Beda dyawman" at Suriyanippally, Palluruthy, Kochi. (25:04)
08. The musical aspects of "Beda dyawman" (27:28)
09. The oldest Christian chant in India (30:05). Bar Maryam might have been composed in Kerala. Musical aspects of the Tamil hymn "Marayor Pawe"
10. The importance of the musical heritage of the Syro Malabar Christians (38:16)
11. Recent attempts in transferring the Syriac tradition to the younger generation (39:13)
12. Sings and speaks about the solemn form of the Lord's prayer from the Chaldean rite liturgy (47:56)
13. The negative impact of the decisions of FR. Abel and K. K. Antony Master on the liturgical music of the Syro Malabar Church (51:46)
14. On the cinematic style of the liturgical music of the syro Malabar Church (53:50)
15. About the responses from the participants at the Notre Dame University Conference to Dr. Palackal's presentation (59:13)
The earlier interviews can be found here:
First Interview Part I
First Interview Part II
Aramaic Project-45 - Second Interview
Vatican Radio. Broadcast on 8 & 9 January 2016.
|58a||Fr. William Nellikkal's interview of Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. Part I of V. Broadcast on 8 & 9 January 2016.
01. The Syriac story of the Latin chant, "Pange Lingua" by St. Thomas Aquinas (1:45)
02. Musical analysis of the melody of "Kollan Dasne" (5:20)
03. "How did you arrive at the Aramaic Project?" (10:20)
|Vatican Radio. Part I of V. Broadcast on 8 & 9 January 2016.|
|58b||Fr. William Nellikkal's interview of Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. Part II of V. Broadcast on 15 & 16 January 2016.
01. On the Syriac-related activities at the Palluppuram Seminary of the saintly Palackal Thoma Malpan (1:28)
02. The history of Aramaic language in India (4:45)
03. The role of Fr. Abel Periyappuram, CMI in the transition of melodies from Syriac to Malayalam" (9:51)
|14:44||Vatican Radio. Part II of V. Broadcast on 15 & 16 January 2016.|
|58c||Fr. William Nellikkal's interview of Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. Part III of V. Broadcast on 22 & 23 January 2016.
01. The story of the Syriac and Malayalam versions of "Beda dyawman" at Suriyanippally, Palluruthy, Kochi. (1:50)
02. The musical aspects of "Beda dyawman" (3:38)
03. the oldest Christian chant in India (6:14). Bar Maryam might have been composed in Kerala. Musical aspects of the Tamil hymn "Marayor Pawe
|15:30||Vatican Radio. Part III of V. Broadcast on 22 & 23 January 2016.|
|58d||Fr. William Nellikkal's interview of Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. Part IV of V. Broadcast on 3 March 2016. >
01. The importance of the musical heritage of the Syro Malabar Christians (2:02)
02. Recent attempts in transferring the Syriac tradition to the younger generation (2:51)
03. Sings and speaks about the solemn form of the Lord's prayer from the Chaldean rite liturgy (11:35)
04. The negative impact of the decisions of FR. Abel and K. K. Antony Master on the liturgical music of the Syro Malabar Church (15:26)
|19:04||Vatican Radio. Part IV of V. Broadcast on 3 March 2016.|
|58e||Fr. William Nellikkal's interview of Dr. Joseph J. Palackal for the Malayalam section of the Vatican Radio. Part V of V. Broadcast on 10 March 2016.
01.On the cinematic style of the liturgical music of the syro Malabar Church (3:55)
02.About the responses from the participants at the Notre Dame University Conference to Dr. Palackal's presentation (8:51)
|15:18||Vatican Radio. Part V of V. Broadcast on 10 March 2016.|
|57||Bilingual singing of Qambel Maran.
The idea of singing the same chant in its original Syriac text and its Malayalam translation came up during my interview with the Major Archbishop, George Cardinal Alencherry, the head of the Syro Malabar Church (see Aramaic Project 60 ). The Major Archbishop was very enthusiastic about the idea. On my part, this was the first attempt to put the idea into practice. The occasion was the celebration of the Office for the Dead, following the memorial mass for the first anniversary of my cousin, Fr. Thomas Palackal, and 176th anniversary of my collateral ancestor, the saintly Palackal Thoma Malpan. The congregation consisted mainly of the Palackal family who live in New York, New Jersey, Connecticut, and Canada. For that reason, I felt comfortable in doing this experiment. The adults had the Malayalam translation in front of them, while I sang the Syriac text, and therefore, did not feel disconnected from the spirit of the prayer. The youngsters, however, could not follow the meaning because they did not know Malayalam. One of them told me after the service that he liked the prayerful mood created by the melody. It remains to be seen if other priests would be willing to do such experiments, and if the laity would feel comfortable. If they do, that will lead to a positive conversation about the Syriac heritage of the Syro Malabar Church.Joseph J. Palackal
22 January 2017
|4 : 56||
St. Thomas Syro-Malabar CatholicForane Church,Bronx , New York
14 January 2017
Johny P. David, a great blessing. Syriac chants on saxophone Johny P. David, who plays Syriac melodies on the saxophone, is a great blessing to the well-wishers of the Aramaic Project was well as anyone who is interested in the history of the Syriac chant repertoire in Kerala, India. He adds an all new dimension to the experience of the sonority, sensibility and tenderness of the Syriac melodies. More importantly, Johny is an avant-gardist, who took the melodies from their sacred setting of liturgical texts and semantics and brought them to the secular realm of music per se for anyone to experience them irrespective of religious affinities. That being said, playing these melodies, which are ensconced in his childhood memories, is an intense religious experience for Johny. In one instance, Johny accepted my request to play around the melody of the commemoration hymn from the solemn high mass in Syriac. The idea was to venture into a compose-while-playing experiment, similar to what a jazz musician would attempt. Although Johny was not happy with the result, the segment bespeaks immense potential for musical experiments using Syriac melodies. Johny P. David is a true representative of the transitional generation that lived through the transference of the Chaldean liturgy of the Syro Malabar Church from Syriac to Malayalam, in the 1960s. His memory base includes melodies that he learned in the 1950s, during his younger years as a choir boy at Infant Jesus Church at Thalore in the Thrissur district of Kerala. Significantly, some of those melodies are known only to Johny. More significantly, some of those melodies were composed in Kerala, and are embedded in the history of the Syro Malabar Church (see my notes on Aramaic Project 56A https://youtu.be/0UhiLbAaht4 ; 56B https://youtu.be/mkM4NBKka-w ; 56C https://youtu.be/IEXhhCPD-9k ). Had Johny not kept up his memories and practice, these melodies would have been lost forever. The Syro Malabar Catholics have reasons to be proud of Johny P. David. All in all, this short interview provides Kerala music historians and musicologists with ample material for their research pursuits.
Joseph J. Palackal
3 March 2017
|30:22||Recorded at Johny P. David's residence 26 July 2016
|56a||Johny P. David plays “Śambah leśān” on alto saxophone.||2:35||Recorded at Johny P. David's residence 26 July 2016|
|56b||Johny P. David plays “Śambah leśān” with instrumental accompaniment.
Note: Johny P. David presents the melody of Šambah lešān (Sing my Tongue) that we heard in solo performance in Part 56A, with the accompaniment of violin, guitars, and drums. Johny iterates the melody on Alto Saxophone, and Kiran C. P. and Stine Joseph reiterate it respectively on violin and keyboard. Thus, Johny allows us to experience the same melody in different tone colors. This is unconventional in many ways. Taking out of the divine context of religion and ritual efficacy, Johny brings the melody to the merely human realm of pure aesthetic enjoyment. The selection of musical instruments, too, is unconventional. Traditionally, Syro-Malabar church musicians used only violin, harmonium, triangle, and bass drum for accompaniment. Johny’s action is avant-garde. He is motivated enough to spend his time and resources to combine a tune associated with the Syriac translation of a famous Latin liturgical text with contemporary sonorities. This adds yet another layer to the multiple stories of centuries-long cultural interactions that took place in Kerala between the disparate traditions of the East and the West. By doing so, Johny presents the melody to future composers to make use of it, either by quotation, or by mutation, as Western composers did with some of the medieval chants ("Dies Ire," for example).
Viewers might argue that the serene sublimity and loving tenderness in Johny’s rendering is hampered by the selection of chords and the particular sonorities of the accompanying instruments. If Johny’s version is far superior with its delicate and subdued use of ornamentation of notes and careful control of dynamics, it is because the melody blended into his blood more than half a century ago. Johny dedicates the video to his favorite priest, Fr. Abilius, C.M.I. (1916-2000), who taught him many Syriac melodies.
Johny’s selection of the performance space, Mar Thoma National Shrine at Azhikkode, is deliberate. The story of this melody is linked to this Shrine and this place (see notes on Part-56A). History sleeps here; so does nostalgia. Christian Musicological Society of India is grateful to Johny P. David for bringing Syriac chants into a different kind of contemporary conversation....... Joseph J. Palackal
|Recorded at Johny P. David's residence 26 July 2016|
|56c||Johny P. David plays Kollan dašne with instrumental accompaniment.
Johny P. David continues his mission of presenting his favorite Syriac melodies on Alto saxophone. In this video he plays the melody of “Kollan dašne” that used to be sung during the Benediction of the Blessed Sacrament on Sundays and special feast days in the Syro Malabar churches, until the early 1970s. The Syriac text is the translation of the Latin chant, Pange Lingua (Sing my Tongue) that St. Thomas Aquinas wrote for the feast of Corpus Christi. This particular melody is a rare one. Probably, this melody was composed by the same person who composed “Šambah lešān” that we heard in Part 56A & 56B (see notes on these entries).
Johny seems to be the only one who knows it. But for his efforts to document it, this melody would have been lost for ever. Johny voluntarily spent his time and resources to record it with instrumental accompaniment for the Aramaic Project, and preserve it for posterity.
Once again, Johny manifests his respect for the history of the St. Thomas Christians in the selection of the performance space for this video. The performance took place on the premises of the St. Thomas Syro Malabar Catholic Church at Palayur, in Kerala. Palayur is one of the seven locations where St. Thomas the Apostle is believed to have established Christin communities. The statues in the back ground show the Apostle preaching to the local Hindu priests. Music, indeed is embedded in history.
Johny P. David is an extraordinary musician, who has an excellent command over the musical instrument of his choice. With seeming effortlessness, he weaves musical phrases by lacing notes with subtle dynamics and subdued ornamentations and, thereby, evokes internal silence.....Joseph J. Palackal
|5:58||Recorded at Johny P. David's residence 26 July 2016|
|56d||Johny P. David plays Qandiśā alāhā on alto saxophone||2:01||Recorded at Johny P. David's residence 26 July 2016|
|55||Pre-screening comments by Dr. Joseph J. Palackal on the Aramaic Project at the Conference on the Music of South, Central, and West Asia. Harvard University, 4-6 March 2016.||7:10||Harvard University, 4-6 March 2016.|
|54||Fr. Jose P Kottaram in conversation with Dr. Joseph J. Palackal.
NOTE:Fr. Jose Kottaram, who immersed himself in the Syriac tradition of the Syro Malabar Church from his childhood days, gives us requiem versions of melodies for three chants: “Slīwā dahwā lan,” O dez damman,” and “Qadkāyen.” He says that he learned these melodies by listening to requiem Raza that used to be celebrated frequently during those days in his parish. This are examples of singing the same text in two different ways to create different effects in the liturgy. In contrast to singing the same text with two different melodies, Fr. Kottaram also gives several examples of singing the same melody to text in Syriac and its translation in Malayalam. The transference of the melody from text in one language to another seems to take place smoothly. This was an interesting phenomena in the 1960s, during the transition of liturgies from Syriac to Malayalam. The Syriac chants were translated into Malayalam while retaining the melody of the original Syriac text. This helped the continuation of the melodies even when the original chant texts faded from the memories. See a detailed study of the transference of melody from the Syriac text to its Malayalam translation in my chapter, “The Survival Story of the Syriac Chants among the St. Thomas Christians in South India” in the Oxford Handbook of Music and World Christianities
Fr. Kottaram’s chanting of two prayers before the final blessing in solemn Qurbana shows the influence of the melody of the Latin chant Exultet. This melody, which was introduced by the Portuguese missionaries in the sixteenth century, seems to have been popular among the Syriac singers (see other examples in 25K and 25L). Fortunately, Fr. Kottaram is able to recall, albeit after about fifty years of disuse, the chanting style of the Passion narrative on Good Friday. The melodic formula seems to be the same as that of the Veneration of the Cross that we heard in Aramaic Project-Part 4 ........ Joseph J. Palackal
01. About learning Syriac during Priestly formation (0:44)
02. Melody of “Suwha lawa” (5:15)
03. Requiem melody of “Slīwā dahwā lan.” From Raza for the dead (5:50)
04. Malayalam version of the requiem tune of “Slīwā dahwā lan.” (7:38)
05. Two melodies of “Odez damman’ Before reading from the epistle (8:15)
06. Chant before the gospel proclamation (9:02)
07. “Thaibuthe d’maran iso misiha” Salutation and dialogue between the celbrant and congregation during anaphora. Syriac and Malayalam versions (9:26)
08. Melody of “Qadkayen” (14:45)
09. Style of chanting the slotha before Huthamma on Sundays (15:13)
10. Chanting of the blessing before communion: Syriac and Malayalam versions (19:30)
11. Melody of “Ualappai’ (20:00)
12. Chanting of the Institution Narrative (20:35)
13. The musical scene at St. Joseph’s Seminary at Mangalappuzha (23:48)
14. Style of chanting the Scripture readings (23:45)
15. Melody of the introduction to the proclamation of the Gospel (25:45)
16. Melody of “Rahme suqana” Rite of reconciliation (29:08)
17. Chanting of the Passion Narrative on Good Friday (30:10)
18. Pope Leo XIII and St. Berchman's Higher Secondary School (31:29)
19. About Fr. Abel Periyappuram CMI (38:18)
Chapel of St. John Berchman's Higher Secondary School, Changanacherry, Kerala.
1 August 2014.
|54a||Fr. Jose P. Kottaram. Melody of “Šuwha lawā.” Commemoration hymn.||1:46|
|54b||Fr. Jose P. Kottaram sings the requiem melody of “Slīwâ dahwâ lan” from Raza for the dead. this chant is sung while kissing of the Cross. Category: Ōnītâ d’kanke. Video||3:04|
|54c||Fr. Jose P. Kottaram sings the Malayalam version of the requiem tune "Slīwâ dahwâ lan" Ōnītâ d’kanke .||1:59|
|54d||Fr. Jose P. Kottaram sings two melodies of "Odez damman" from Raza. This is sung before reading from the Eipistle. Video||2:10|
|54e||Fr. Jose P. Kottaram sings "odem haymnīn". Before the proclamation of the Gospel in solemn Raza.||1:33|
|54f||Fr. Jose P. Kottaram sings "Thaibūthe d’māran īšōmišīhâ." Blessing and the Salutation and dialogue in solemn Qurbana: Syriac and Malayalam versions. Note the smooth transition of the melody from the Syriac text to the Malayalam text.||6:17|
|54g||Fr. Jose P. Kottaram sings two melodies of “Kad qāyēn” - the introduction to "Holy, Holy Holy" in solemn Qurbana in Syriac.||2:31|
|54h||Fr. Jose P. Kottaram sings "Yāēmār b’kōl yāwmīn" which is the slotha (prayer) before the Huthamma (final blessing) on Sundays in Qurbana in Syriac..||5:37|
|54i||Fr. Jose P. Kottaram sings "Māwhawthâ d’thaibūthē. Blessing before communion. Syriac and Malayalam versions. Note the smooth transition of the melody from the Syriac text to the Malayalam text.||1:45|
|54j||Fr. Jose P. Kottaram sings "Ual appai".||153|
|54k||Fr. Jose P. Kottaram chants the Institution narrative in Syriac.||
|54l||Fr. Jose P. Kottaram. Chanting of sacred scripture in Syriac.||3:09|
|54m||Fr. Jose P. Kottaram. Introduction to the Gospel proclamation
Fr. Jose P. Kottaram sings the Exchange of peace and the introduction to the Gospel.
|54n||Fr. Jose P. Kottaram. Melody of “Rahme šūqānâ” (the reconciliation rite). This is one of the two melodies we have heard so far for this particular chant.||2:09|
|54o||Fr. Jose P. Kottaram. Chanting of the Passion narrative on Good Friday. >||2:28|
|53||George Thaila in conversation with Dr. Joseph J. Palackal.
NOTE:This is a rare, yet interesting example of singing a non-liturgical Marian devotional song in Malayalam to the melody of a popular Syriac chant. George Thaila, who was born into a musical family, recalls his early childhood experience of evening family prayer at his home at Kuninji, in the Idukki District of Kerala. In the month of May, which is devoted to the Blessed Virgin Mary, the family would conclude the evening prayer with the song" Nalla Mātāwe mariye/ Nirmala yawusēppitāwe". George’s father, Augusty Thailayil (1900-1991), who was a violinist and a church musician in the Syriac tradition, would double the melody on the violin, and one of his older brothers would do the same on the harmonium. The melody got imprinted in the mind of the young George, without knowing the source of the melody. Later, he was surprised to hear the same melody in a Syriac chant at a Knanaya wedding ceremony, sometime in 1981.
The Malayalam and Syriac chants have very different syllabic structure. The opening verse of the Malayalam chant has three words and 8 syllables, whereas the opening verse of the Syriac chant has 4 syllables in two words;
Malayalam; Na-lla| Mā-tā-we| ma-ri-ye (2 +3 + 3 = 8)
Syriac: bar| |ma-ri-am (1+ 3 = 4)
In the musical realization, the melody of the first two verses of the Syriac text is negotiated to fit the 8 syllables of the first verse in the Malayalam text. A recording of Bar Maryam, sung by Rev. Dr. Jacob Vellaian can be heard on track 25, on the CD "Qambel Maran: Syriac Chants from South India" (Pan Records, Netherlands, 2002).
The interview brings out also an interesting piece of information about children’s funeral. During funeral procession from home to the church, Augusthy Thilayil used to play violin and sing the Syriac version of the song of shadrach, Meshach, and abednego from the Book of Daniel (3:53-90) It s not clear if this was a strictly local tradition, or this song was sung during similar occasions in other Syro Malabar Parishes........ Joseph J. Palackal
Recorded at Thaila's residence.
18 December 2015.
|52||Mr. Sebastian Menachery in conversation with Dr. Joseph J. Palackal.
This interview is valuable, especially to musicologists and Church historians. Although not a professional musician, Sebastian Menachery reminisces, with great enthusiasm, melodies and memories from the Syro Malabar liturgy in the 1950s. Gifted with an unusual musical memory, Menachery sings even texts that only the celebrant (priest/bishop) used to sing, and chants that were heard only once a year. Menachery attributes this to the captivating power of the melodies of those chants. Whether these melodies were composed in Kerala or in the Chaldean churches in West Asia is a topic that remains to be studied. Menachery references the existence of a rich repertoire of Syriac chants that were composed locally in Kerala. He speaks also about the practice of composing and singing more than one melody for a liturgical text (see “Ual ar’a” and “M’haymnīnan”). The texts of some of these chants are Syriac translations of popular Latin chants that the Portuguese missionaries introduced or imposed on the Syro Malabar Catholics. In any event, historians of Kerala’s music can no longer ignore the contributions of Christian composers and church choirs in Kerala in the nineteenth and twentieth centuries. The Christian Musicological Society of India is grateful to Mr. Menachery for showcasing the relevance as well as the immense potential of the Aramaic Project..... Joseph J. Palackal
01. We have failed to hand over the Syriac heritage to the next generation (2:10)
02. In the Quran, Jesus is referred to as “Ruh Allah” (Breath of God) (5:41)
03. “I have learned Syriac and I am proud of it” (6:44)
04. The Syriac music scene at St. Joseph’s Monastery (CMI) at Koonammavu under the leadership of Fr. Justin Menachery and Lonappan Bhagavathar (6:59)
05.Melody of “U al ar’a” (And on earth) from the Syriac translation of the Latin chant, 'Gloria in Excelsis Deo' (7:50)
06: A unique melody of “Kollan Dasne” (from the Syriac translation of the Latin chant, Tantum Ergo by St. Thomas Aquinas), taught by Lonappan Bhagavathar (9:12)
07. Melody of “Barek Maar” (10:32)
08. Melody of “Puqdan Handes” from the knocking ceremony on Palm Sunday (13:08)
09. On the use of the word “Ruh” in the Hindi film lyrics. Ruh should not be translated. (14:34)
10. T. S. Eliot borrowed “Shanti Shanti Shanti” from the Upanishads to conclude “The Wasteland.” (18:08)
11. Melody of “M’haimneenan” (opening words of the Creed) (19:34)
12. Another melody of “M’haimneenan” (Creed) (20:51)
13. Melody of the Commemoration hymn. The fifth strophe/ “Swore am rawrbe” of “Suwha lawa.” (21:25)
14. Melody of the Litany Quryēlaisōn (Kyrie Eleison) in Syriac (22:14)
15. Melody of “Ślām lēk maryam” (Hail Mary). We should preserve the word “Slaamma” (22:53)
16. About the Pesaha meal (Passover meal) on Holy Thursday (24:48)
17. Melody of “Ammaanaa” (My people) from the Good Friday service in Syriac (25:47)
18. Melodies of “U al appai” and “Laaku Maaraa” from solemn Qurbana (26:27)
19. Melody of “Emare d'alaaha” (Lamb of God) from the conclusion of the Litany (28:38)
20. Melody of “Ahai qambel” (Invitation to receive communion). The melody is similar to that of “Puqdan handes” (28:56)
21. Melody of “Rahme Suqaanaa” (from the rite of reconciliation) (29:48)
22. Hymn in honor of the Sacred Heart of Jesus (30:14)
23. Another melody of Quryēlaisōn and Litany (30:33)
24. “Bhooloka paapangale” Malayalam song in honor of the Sacred Heart of Jesus (31:38)
25. Malayalam hymn, “Ethranalleso naadhaa” (32:32)
26. About Fr. Justine Menachery’s role in the publication of the Syriac Malayalam Hymnal (33:07)
27. Melody of a segment from “U al ar’a” (And on earth/from 'Gloria in Excelsis Deo') (36:31)
28. About Fr. Abel Periyappuram and his lyrics (38:22)
29. Melody of “U la tayelan,” the concluding part of the Latin chant, Te Deum (in Syriac translation). (42:34)
Recorded at Dharmaram Vidya Kshetram (DVK), Bangalore.
19 July 2014.
|52a||Melody of "U al ar'a" (And on earth). Syriac translation of 'Gloria in Excelsis Deo'. From the solemn Qurbana in Syriac in the Syro Malabar Church before 1962.||2:30|
|52b||A unique melody of "Kollan dasne."||2:30|
|52c||Sebastian Menachery sings and speaks about the chant, 'Barek Maar" (Bless O Lord) from solemn celebration of Qurbana in Syriac in the Syro Malabar Church.||3:47|
|52d||Sebastian Menachery sings and speaks about the chant "Puqdaan hendes" that is sung on Palm Sunday . The chant is accompanied by the ritual of knocking and opening the main door of the Church at the conclusion of the Procession.||2:23|
|52e||Melody of "M’haymneenan" from the Creed In Syriac during solemn celebration of Qurbana. Probabaly composed in Kerala.||2:29|
|52f||Another melody of "M’haymneenan" from the Creed which was probably composed in Kerala.||1:40|
|52g||Aramaic Project-52G. Melody of the "Suwha l’awaa" the commemoration hymn in Syriac.||2:00|
|52h||Quryēlaisōn - Syriac translation of the Latin litany "Kyrie eleison". Latin rituals were introduced in Kerala by the Portuguese missionaries after the Synod of Diamper (UDAYAMPERUR) In 1599. Latin chants for these rituals were translated into Syriac and were composed in Kerala.||1:34|
|52i||Melody of “Ślām lēk maryam.” which is the Syriac Translation of the Latin chant, 'Salve Regina'. It is sung on Wednesdays at the monasteries of the Carmelites of Mary Immaculate in Kerala.||2:31|
|52j||Melody of “Ammaanaa” (My people), the lament from Good Friday services.||1:41|
|52k||Melodies of “U al appay” and “Laaku Maaraa.” Chanting of slotha (prayer) followed by the Resurrection hymn in Syriac. Melody for solemn occasions in the Syro Malabar Church.||3:10|
|52l||Melody of “Emare d'alaaha” (Lamb of God), the Concluding part of the Syriac translation of the Latin Litany.||1:19|
|52m||Melody of "Ahai Qambel." which is the deacon's invitation to receive the holy communion from the Solemn Qurbana.||1:35|
|52n||Melody of “Rahme Suqaanaa”, from the reconciliation rite in the solemn Qurbana.||1:19|
|52o||Reference to a Hymn in honor of the Sacred Heart of Jesus: "Lemba haliya Īśō māran".||1:18|
|52p||Yet another melody of Quryēlaisōn (Kyrie eleison) and Litany.||1:51|
|52q||Excerpt from the melody of “U al ar’a” (And on earth). Syriac Translation of 'Gloria in Excelsis Deo'.||1:53|
|52r||Melody of “Ula tayelan,” from the Syriac translation of Te Deum.||2:42|
|52s||Sebastian Menachery speaks about Fr. Abel Peiyappuram, CMI.||
|51||Lonappan Arackal and team in conversation with Dr. Joseph J. Palackal.
NOTE: The melodies and memories that Mr. Lonappan Arackal shares with us in this video are significant because he is a member of the transitional generation that saw the transference of the Syro Malabar liturgy from Syriac to Malayalam (July 3,1962). Lonappan has been a church musician for the last 53 years. He learned the melodies from his father and grandfather who, too, were choir leaders. Thus, we have here a musical link to a melodic tradition that is older than a century.
Lonappan sings from memory without the aid of printed books. He showed his private collection of Syriac song books that he has been safeguarding carefully. We hope to digitalize those books and make them available for researchers as soon as funds are available. Lonappan’s vivid recollection of the dramatic musical transition from the solemn to the requiem mode in the middle of Mass on Pesaha (passover/Holy/Maundy) Thursday is precious. But for this segment we wouldn’t have known such a practice existed in the Syro Malabar Liturgy.Lonappan sings four different melodies of Quryēlaisōn (Kyrie Eleison). Probably, all these melodies were composed in Kerala, after the Synod of Diamper (1599), when the Portuguese missionaries introduced many Roman-rite rituals in the Chaldean (East Syriac) liturgy of the Syro Malabar Church. Surprisingly, Lonappan sings a Syriac hymn to the Patron saint of the parish set to the meter and melody of another popular Syriac Chant, “Bar Maryam.”In this case, Bar Maryam serves as a model melody. He has also given us a second melody for the post-communion Hymn, “Māran Īśō” for solemn occasions. Overall, the contents in this video hint at several topics for further research in the history of music in Kerala…… Joseph J. Palackal
01. Melody of “Śambah leśān” from Benediction. Syriac translation of Tantum Ergo For Benediction (1:11) J. Lonappan John Arackal (vocal, harmonium), Siji Joseph (violin), A.J. Jose Arackal (triangle), Liju Chackappan ( Drum)
02. Melody of “kollan dasne” from Benediction. Syriac translation of Tantum Ergo (2:08)
03. Chanting of the slotha (prayer) from Benediction. Fr. Augustus Thekkanath, CMI (4;00)
04. Reenactment of Holy Holy Holy on Pesaha (Passover/Maundy/Holy) Thursday (before 1962). (5:48)
05. Melody of “m’samsana Daweed” for elevation during qurbana on Pesaha Thursday (10:17)
06. Melody of “Rahme Suqaanaa” from the rite of reconciliation during Qurbana on Pesaha Thursday. (11:08)
07. Melody of “Rahme Suqaanaa” in the solemn manner (11:47)
08. Melody of “maran Iso” after communion (12:40)
09. Reference to the Malayalam version of Maran Iso (13:08)
10. Melody of “Maran Iso” for Solemn Qurbana. Rhythm: 1 2 + 1 2 3 4 = 6 beats (13:19)
11. “Hā qēs slīwā” veneration of the Cross on Good Friday. The text is sung in three ascending pitch registers, while progressively uncovering the Cross. Fr. Augustus Thekkanath, CMI assisted by Lonappan Arackal. (15:35)
12. Melody of Huthamma final blessing from Requiem mass. Fr. Augustus Thekkanath CMI (19:21)
13. Melody 1 of Quryēlaisōn (Kyrie Eleison) (Syriac translation of the Latin litany) (21:54)
14. Melody 2 of Quryēlaisōn (Kyrie Eleison). Rhythm: 1 2 + 12 35 = 6 beats (25:01)
15. Melody 3 of Quryēlaisōn (Kyrie Eleison). Rhythm: 1 2 3 + 1 2 3 4 = 7 beats (25:48)
16. Melody 4 of Quryēlaisōn (Kyrie Eleison). (27:05)
17. Melody of “Slīwā dahwā lan” sung when the festival procession reaches the open-air Cross (32:22)
18. Hymn in honor of St. John Nepomucene to the melody of ’’Bar Maryam.’ (33:50)
Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam.
16 July 2013.
|51a||"Śambah leśān" Syriac translation of Tantum Ergo by Thomas Aquinas. Used to besung as the opening chant for Benediction of the Blessed Sacrament in the Syro Malabar Church, until 1962.||..2:08||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013..|
|51b||Melody of "Kollan Dasne" From Syriac Translation Of the Benediction hymn Tantum Ergo.||..||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51c||Reenactment of Holy Holy Holy On Pesaha Thursday before 1962.
NOTE: This is a unique segment which highlights the role of music in creating an extra ordinary experience of liturgical time during the Holy Week. Music serves as a medium for a dramatic transitioning from the solemn to the somber sense of time. It happens during the Eucharistic prayer. Halfway through the Holy, Holy, Holy, the music stops and the server rings the clapper, portending a change of time and mood. Rest of the song is sung a capella in a requiem mode. The ensuing mood continues until the Easter celebration. Luckily, Lonappan Arackal and his team has opened to us a window into the past history of the Syro Malabar liturgy, and we are grateful....... Joseph J. Palackal
|..5:25||..Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51d||Melody of M'Samsana Daweed For Elevation During Qurbana On Pesaha Thursday.||..||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51e||Melody of "Rahme Suqaanaa" Rite of Reconciliation on Pesaha Thursday .
Lonappan Arackal sings the same text of the Reconciliation rite in the Syriac Qurbana in the requiem and solemn manner.
|..||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51f||Melody of "Maran Iso" After Communion.||..2:02||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013..|
|51g||Melody of "Maran Iso" For solemn occasions.
Solemn tune of "Maran iso". This tune is used during the solemn celebration of Qurbana. Lonappan says that his team sing this melody at least once a year when they celebrate Qurbana in Syriac during the annual celebration of the patron saint of the Parish. The melody has 7/8 rhythm (x23 + x1234) that is popular in the South Indian semi classical compositions. For that reason, we may assume that this melody was composed in Kerala.
|.3:27.||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51h||Melody 1 of Quryēlaisōn (Kyrie Eleison): Syriac translation of Latin Litany.
This is one of four melodies of the litany sung by Lonappan Arackal and his team. Fortunately, Lonappan was able to recall these melodies half a century after they went out of vogue. The litany is one of the many popular devotional practices that the Portuguese missionaries introduced among the Syro Malabar Catholics. The Latin texts of these litanies were translated into Syriac, and the local composers composed melodies using local musical idioms. Church choirs took pride in singing new melodies to the Syriac texts. Considering the sheer number and variety of melodies that are available, we may assume that the local choir leaders enjoyed considerable freedom in composing and performing these texts.
|..4:16||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51i||Melody 2 of Quryēlaisōn (Kyrie Eleison): Syriac translation of Latin Litany.||..||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013..|
|51j||Melody 3 of Quryēlaisōn (Kyrie Eleison): Syriac translation of Latin Litany.||.2:25||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.|
|51k||Melody 4 of Quryēlaisōn (Kyrie Eleison): Syriac translation of Latin Litany. Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.||...2:40||. Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.
|51l||Slīwā dahwā lan Sung When The Festival Procession Reaches The Open air Cross. Recorded at ,
The authorship of this chant is attributed to St. Ephrem the Syrian . The text and melody are used for the veneration of the Cross in two very different contexts. During Raza, the most solemn form of Qurbana, the chant is sung while the celebrants and the congregation kiss the Cross. During festival processions the chant used to be sung at the foot of the open-air Cross when the celebrant and singers halted to venerate the Cross. On this occasion, it was sung with the accompaniment of violin and triangle. See also Part 42
|..2:38||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.
|51m||Hymn in honor of St John Nepomucene to the melody of ’Bar Maryam.
NOTE: This segment is significant for several reasons. First, this is an example of a Syriac chant composed to the meter and melody of another chant, Bar Maryam; it also means that certain chants, Bar Maryam, for example, were more popular than others among the Syro Malabar Catholics across Kerala (see recordings Part 53 and Part5A ); second, this is one of the Syriac chants that was definitely composed in Kerala; third, the people, who dedicated their parish to St. John Nepumocene (mār yōhannān) decided to compose a hymn in honor of the saint in the Syriac language, rather than in Malayalam, their mother tongue; fourth, during this period, there were priests and laymen in Kerala who knew the Syriac language well enough to write poems, and most probably, the congregation, too, was literate enough to understand chant texts. Thus, a single chant, sometimes, may carry multiple stories connected with the region, its people and its music.........Joseph J. Palackal
|..3:04||Recorded at St. John Nepomucene Church, Konthuruthy, Ernakulam. 16 July 2013.
|51n||Fr. Augustus Thekkanath, C.M.I. sings "Hā qēs slīwā". Veneration of the Cross on Good Friday, assisted by Lonappan Arackal
This is a reenactment of the veneration of the Cross in Syriac, on Good Friday, before the vernacularization of the Syro Malabar liturgy in 1962. The ritual and the performance practice are the same as in the Latin liturgy. The same text is sung three times in ascending pitch registers without instrumental accompaniment, while the a Celebrant progressively uncovers the Crucifix.
Click here to view the full interview Part 51
|4:58||Recorded on 16 July 2013 at St. John Nepumocene Church, Konthuruthy, Ernakulam|
|51o||Fr.Augustus Thekkanath, C.M.I. sings the final blessing in the requiem mass in Syriac assisted by Lonappan Arackal. This melody continues to be used today with the Malayalam translation of the Syriac text during requiem mass.
Click here to view the full interview Part 51
|3:44||Recorded on 16 July 213 at John Nepomucene Church, Konthuruthy, Ernakulam.|