ലാക്‌ ആലാഹ'/ദൈവമെ ഞങ്ങളങ്ങേ വാഴ്ത്തുന്നു Translation of "Te Deum" Latin Hymn

Lak Alaha/Te Deum in Malayalam

Two young boys sing the Syriac alphabet.
Nebil Aneesh and Joel Aneesh, sing the Syriac alphabet at home.

Fr. Sebastian Sankoorikkal. Solemn Qurbana in Syriac (pre-1962 version)

A Historic Event - Solemn Qurbana in Syriac -

Varghese Chiriyankandath, Sacristan and church musician. St. Joseph's Church, Pavaratty. Archdiocese of Thrisssur, Kerala.

Slotha-oration after the psalms

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Slotha -oration after the gospel proclamtion

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Melody of ""Ennan lahma" I am the living bread -Binu & Deepa singing syriac chants with a smile

"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

"If OM is Hindu, electricity is Christian." - Dr. Joseph J. Palackal, CMI

Extract From Dr. Joseph J. Palackal's interview on Pravasi Channel, USA

See full Qurbana here

See full Qurbana here

Ualappai. Slotha -prayer after psalm. Fr. Plathottam

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Lākāu Mārā. Resurrection hymn from Syro Malabar Qurbana in Syriac

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Athu mar. Slotha/ prayer after the Resurrection hymn

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From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam.

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Deacon’s Request for Blessing, before reading the epistle here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam.

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From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

Peace greeting from Syriac Qurbana. Fr. George Plathottam

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

From the Solemn Qurbana of the Syro Malabar Church. Celebrant: Fr. George Plathottam. See full Qurbana here ;

See full Qurbana here

This interview with a seasoned singer of the Syriac chants is an extremely valuable addition to the Aramaic Project.Fr. Mattam is blessed with a steady and resonant voice and, even at the age of 84, has the stamina and the breath control of a well-trained opera singer. He is passionate about singing the Syriac melodies that he started learning from his childhood at his native parish. Later, during his seminary years in the 1950s, at St. Joseph’s Seminary at Mangalappuzha, Aluva, he was fortunate to learn more chants from Fr. Mathew Vadakel, an eminent scholar of the Syriac language and composer of Syriac chants. Fr. Mattam sang about 32 melodies during this interview, including several examples of chanting slōthā (oration) between the sung portions of the Mass. He was willing to keep singing, but myself and the recording crew were exhausted after four hours of recording. Some of his renderings will help scholars to study individual variations of the same melody. A case in point is the melody of the Malayalam version of the chant “Pūš bašlāmā” (see topic no. 33 at 1:33:36). He sings this melody in a slow tempo to evoke the mood of pathos that goes along with the context of this chant at the end of a funeral service at home when the dead body is carried in procession to the cemetery. See also extended discussion on “O Des tamman” (topic no.17 at 39:36). It is a pity that such a resourceful person as Fr. Mattam is not sought after by the seminarians and music students in the Syro Malabar Church. We hope to do a follow up interview to eke out all the melodies that are stored in his brain, especially those melodies that were used in the paraliturgical services. Overall, this interview was a rewarding experience.

• 62a - Fr. Mathew Mattam. Melody of Puqdānkōn Video
• 62b- Fr. Mathew Mattam. Melody of Tešbōhtā lalāha (Glory to God) Video
• 62c- Fr. Mathew Mattam sings the solemn form of the Lord's prayer with Thrice Holy Video
• 62d- Fr. Mathew Mattam. Chanting of slōthā (oration) after the Lord’s prayer Video
• 62e- Fr. Mathew Mattam. Melody Of Psalm Video
• 62f -Fr. Mathew Mattam. chanting of Slōthā (oration),after The Psalm Video
• 62g . Fr. Mathew Mattam. Melody of Lāku Mārā Resurrection Hymn; Video
• 62h- Fr. Mathew Mattam. Chanting of Slōthā (oration), after Lāku Mārā Video
• 62i -Fr. Mathew Mattam sings the Trisagion, Qandišā Alāhā Video
• 62j -Slōthā (oration) after Qandišā Alāhā Video
• 62k-Melody Of “wehu Nehde” While Kissing The Cross, During Raza Video
• 62l -Melody of “barek Mār” Video
• 62m- Style Of Chanting The Sacred Scripture Video
• 62n- Melody of “O des damman” Video
• 62o -Melody Of “dawrek Sāwē” During Gospel Procession Video
• 62p- Melody of “O Damhaimneen” Video
• 62q -Melody of Announcing the Epistle Video
• 62r -Melody of the Introductory Chant Before The Gospel Video
• 62s -Style Of Chanting The Prayers Of The Faithful kārōthūthā
• 62t- Melody of “wnesek Lāk” before Anaphora Video
• 62u - Melody of Exchange of Peace Video
• 62v- Melody of Greeting And Dialogue. Anaphora Video
• 62w- Melody of “kad Qāyēn” Followed By Holy Holy Holy; Video
• 62x- Melody of Ēn Māryā Alāhā before Communion Video
• 62y- Melody of “Māwhawsā” Video
• 62z- Melody of “āhay Qambel” deacon’s Invitation To Communion Video
• 62aa- Melody of “raze Dnaswan” after Communion Video
• 62bb- Melody of Concluding Prayers Before the Final Blessing Video
• 62cc- Melody of Final Blessing in Solemn Qurbana Video
• 62dd- Melody of Wita Wangunnen (funeral service for priests) Video
• 62ee -Malayalam Version of “pus Bslama” in slower tempo Video
• 62ff -Melody of “qambel Maran” Video

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.

George Thaila in conversation with Dr. Joseph J. Palackal. Recorded at Thaila's residence. 18 December 2015.

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

Aramaic language in India before the Christian era - From the Interview given by Dr. Joseph on Vatican Radio Interview broadcasted on Vatican Radio on 15th and 16th January 2016

Konnammakkal thoma Kathanar speaks about the status of the Aramaic language in India before the advent of Christianity. See Full Interview

Wita wangunnen. Fr. Abel CMI. funeral for priests

"Witawangunnen." Fr. Abel sings his own (free) translation of the Syriac chant, "Etha pus lek" (farewell O church) from the Funeral services for priests in the Syro Malabar Church. The song was recorded at my request in July 1998, during Fr. Abel's visit to the USA. We have also posted another recording of the same text by Fr. George Plathottam. THe melody is the same albeit individual variations. For example, the highest pitch in the melody is arrived at in the second phrase in Fr. Abel's rendering, where as the highest pitch happens in the opening phrase in Fr. Plathottam's melody (https://youtu.be/IbeR8i2B1Dg). The CD, "Qambel Maran: Syriac chants from South India" (PAN Records, Netherlands, 2002) includes this chant in the voice of Fr. Probus Perumalil, CMI (https://youtu.be/l4eFJi2oBKg). The ordering of pitches is similar to that of Fr. Abel. Wiṭawāngunnēn (May I Take Leave)

1. Wiṭawāngunnēn paripāwanamām
Baliwēdikaye wiṭawāngunnēn.
Muṛapōlinimēl balicheywathināy
Nin padatāril warikilla ñān.

May I take leave,
O ever sacred Altar of Sacrifice,
.may I take leave.
From now on,
as usual to offer Sacrifice
At your footsteps I shall not come.

2. Wiṭawāngunnēn dēwālayame,
Wānawaṛ pāṭum paramālayame,
Swaṛggānandam wiḷayum
ninnil Patiyillinimēl enpādangaḷ.

May I take leave,
O House of God,
O supreme dwelling where heavenly beings angels sing,
In you where heavenly bliss abound,
Shall not tread anymore my feet.

3. Wiṭawāngunnēn dēwālayame,
Wānawaṛ pāṭum paramālayame,
Kīṛttana gānam pāṭunnatināy
Tirusannidhiyil warikilla ñān.

May I take leave,
O House of God,
O supreme dwelling where heavenly beings sing,
To sing the songs of praise,
To the sacred Presence I shall not come.

4. Iniyen pṛiyare,
pōkunnu ñān Antimayātṛa wandanamōṭe.
Dēwālayame, pōkunnu ñān
Kaṛmangaḷkkāy warikillinimēl.

Now, my beloved people,
I am going,
With the final journey’s farewell;
O House of God,
I am going;
For the rituals I shall not come anymore.
See also Resource for Research Item No. 10

Joseph Palackal
New York

9-Feb 2018

Fr Paul Kodamullil (Diocese of Kothamangalam, Kerala) in conversation with Dr. Joseph J. Palackal. Recorded at Sathinilayam, Retired Priests Home, Muvattupuzha, Kerala 5 August 2013 Video

Note::Fr. Paul Kodamullilis a celebrated singer, who is 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. Kodamulli used to be sought after to be the celebrant at solemn sung mass during parish festivals.

This interview is a great gift to the Aramaic Project because Fr. Kodamulli is 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, Fr. Kodamullilsings 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 choir master 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 taken in 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.

One can only imagine the sonic heaven created by the solemn Syriac melodies in the voices of such gifted singers to the accompaniment of the majestic sound of the pipe organ. That could not have happened anywhere else in the world....... Joseph J. Palackal

01. Melody of the solemn form of the Lord’s Prayer (1:28)
02. The Resurrection hymn, Lāku Mārā, composed by Fr. Mathew Vadakel in the 1950s (3:28)
03. Melody of M’haimnīnān (creed) from solemn High mass (4:50)
04. Second melody of the Creed (5:33)
05. Melody of Puqdānkōn (5:58)
06. Melody of Rahme Śūqānā (rite of reconciliation) (6:36)
07. on the music scene at the St. Joseph’s Pontifical Seminary at Aluva in the 1950s (7:38).
08. About the huge pipe organ at the Seminary (8:54).
09. About Fr. Aurelius, OCD (9:55)
10. Life history. (11:03)
11. What do you think of the future of the Syriac language? (15:51)
12. Compliments Dr. Joseph j. Palackal for his efforts to preserve the Syriac language and music (17:41).

Interview with Fr. Paul Kodamulli, member of the Diocese of Kothamangalam, currently living at Santhi Nilayam, Retired Priests' Home, Vazhappilly, Muvattupuzha, Kerala. 5 August 2013. (Video editing is in progress).

Interview with Fr. Charles Pyngot, C. M. I., scholar of the East-Syriac liturgy. Recorded at the premises of St. Antony's Monastery, Poomattam, Puthuppally, Kottayam Dt. Kerala. 28 July 2013.

01. The Syriac language has a gloomy future in Kerala, but ... (00:18).
02. Comments on the Malayalam translation of the Syriac liturgical texts (03:12).
03. Syriac, the language of the Lord (04:15).
04. The sound of the Syriac language in Kerala and West Asia (05:14).
05. The influence of Latin chants on the Syriac melodies in Kerala (06:59).
06. The Aramaic way of thinking (08:15).
07. On reinstating some of the Syriac chants in the vernacular liturgy (08:53).
08. Melody of "Ślāmā w'saina" (10:56).
09. An exasmple of reciting a prayer (11:50).
10. A presumed example of "Kyaanaayaa" melody (12:42).
11. About his personal collection of the copies of the Syriac manuscripts (15:00).

Interview with Fr.Emmanuel Thelly C.M.I., Syriac scholar and lexicographer. Recorded at the premises of the Little Flower Monastery, Poonjar South, Kerala. 28 July 2013.

01. A failed mission to Iraq (1: 04)
02. On the pronunciation of Syriac in Kerala and Iraq (7: 55)
03. Recent activities to promote the Syriac language (8: 56)
04. The Syriac Dictionary project (9: 56)
05. The future of the Syriac language in Kerala (12: 18)
06. Why should the younger generation learn Syriac? (13: 22)
07. The C.M.I. Congregation and the Syriac language (14: 39)
08. When did YOU start learning Syriac? (15: 28)
09. The Lord's Prayer in Syriac (16: 56)
10. On the pronunciation of Syriac in the Church of the East (17: 25)
11. On the melodies of the solemn Qurbana in Syriac (19: 32)
12. On the Syriac melodies in Baghdad (20: 03)
13. Syriac melodies in Kerala (20: 58)
14. The incomplete Syriac grammar project (21: 58)
15. On the private celebration of Qurbana in Syriac (24: 05)
16. Syriac and Aramaic is the same (25: 20)
17. A poem about SEERI (26: 58)
18. The acrostic hymn of St. Ephrem on "Iso Misiha" (28: 59)
19. Fr. Emmanuel bids farewell to the world in a poem in Malayalam (33: 10)