Ragheb Moftah and Coptic Music Laurence Moftah 2008
Ragheb Moftah and Coptic Music Laurence Moftah 2008
Introduction His Holiness Pope Shenouda III and Dr. Ragheb Moftah (1898 -2001)
Introduction Dr. Moftah strongly believed that Coptic music originated from the practices of the religious rites and folk traditions of the ancient Egyptians.
Undocumented State of Coptic Music Dr. Moftah reading Ernest Newlandsmith's notation transcriptions while listening to Coptic liturgical music, and explaining to Margit Toth the specifics of the practices of the Coptic hymnal rites. Dr. Margit Toth, the renowned Hungarian musicologist, followed by reading the English liturgical text in the Euchologion (Khulagi). Sometime in the early 1970 s.
Undocumented State of Coptic Music Intro In 1996, His Holiness Pope Shenouda III, Dr. Ragheb Moftah, Dr. Margit Toth (left) and Dr. Mortha Roy signed an agreement with Mark Linz, director of AUC Press (standing) to publish the complete Coptic Orthodox Liturgy of St. Basil. It included the liturgical texts in Coptic, Arabic and English translation. Its accompanying music notation transcription text was transcribed by Margit Toth. The work was published by the AUC Press in 1998. The Ragheb Moftah's complete recording of the Coptic Orthodox Liturgy of St. Basil chanted solo by cantor Sadiq Attallah was published by the AUC Press in 2006.
Ragheb Moftah’s Mission No other music however classical can compare with the pathos of the music of the Coptic Church, nor with the tremendous power it has on the human Dr. Ragheb Moftah conducting the Choir of the Higher Institute of Coptic Studies during the soul and the passion it occasion of the Coptic Feast [either Nativity or Resurrection Feasts], at the St. Mark's Cathedral, awakens in it. in Anba Ruweiss in Abbassiyya. Sometime in the 1990 s.
Ragheb Moftah’s Mission Conducting the Choir at the Music Studio of the Music Division of the Higher Institute of Coptic Studies (HICS). Cantor al-Mu'allim Farag Abdel Messih was instructing the Choir in the rendition of the Coptic Liturgical Chants. Sometime in the late 1990 s.
Ancient Egyptian Roots in Coptic Music Dr. Moftah was convinced that Coptic music resulted from the practices of the ancient Egyptians, but he had to prove his theory. So he traveled with his Choir to Edfu, and his Choir gave a live performance of the Coptic liturgical music in the Temple of Horus, (this was sometime during the 1960 s). He was fascinated by the experiment, and stated the following: It was, indeed, a fascinating experiment which I recently undertook with the Choir of the Institute of Coptic Studies (Cairo), in the great Temple of Horus at Edfu. This temple is in a complete state of preservation, in spite of the fact that it was built by the Ptolemies over 2000 years ago. Our Choir chanted in Mezzo forte some pathetic hymns in the inner sanctuary reserved for the high priest. Although the temple occupies an area of about 7000 s. m. , the acoustics were perfect, the solemn sounds of the voice being distributed with equal intensity or degree of tone over the whole temple from one end to the other, as well as in the lateral chambers. The singing was distinctly heard even in the open courtyard between the Pylons and the Temple, which was reserved for the people. Indeed, this was a miracle of voice distribution, which is well worth serious study.
Coptic Orthodox Chant Music: Unaccompanied Vocal. Intro Music Ernest Newlandsmith Worked with Ragheb Moftah from 1927 - 1936 Ragheb Moftah shared his passion for Coptic music with Ernest Newlandsmith, they worked together from 1927 – 1936. Newlandsmith transcribed the music notations of the entire corpus of Coptic liturgical music in 16 volumes. He transcribed from live performances rendered by the legendary Coptic master cantor, the blind Mikhail Girgis Al. Batanouni (1873 -1957), chosen by Moftah and Newlandsmith for his rich baritone voice and accurate rendition of the liturgical chants. Al-Mu’allim Mikhail al-Batanouni sat in a corner on the floor, chanting tirelessly for the transcription.
Conclusion His Holiness the Pope wrapping His arm around Dr. Ragheb Moftah's shoulders. On the occasion of Dr. Ragheb Moftah's 100 th birthday. At the St. Mark's Cathedral, Anba Ruweiss, Abbassiyya, on Monday, December 21, 1998. To the very right is the late former AUC President John Gerhart. His Holiness Pope Shenouda III Expressed With Pride: Ragheb Moftah is the Father of Hymnology
Conclusion Intro His Holiness Pope Shenouda III mentioned in the Eulogy of Dr. Ragheb Moftah the following: Dr. Ragheb Moftah's funeral held at the St. Mark's Cathedral on Monday, June 18, 2001. His Holiness the Pope officiating the Funeral Service. His Holiness grieved the death of Dr. Moftah, and after the Service His Holiness bowed for a last farewell Dr. Ragheb Moftah bequeathed to us his aims and dreams for the Coptic liturgical Music as our entrusted responsibility, and to take care of this heritage. We are indebted to him for all that we have learnt and acquired of hymns, whether the Liturgies or the Psalmodies. We will always be indebted to him. (The script of the Eulogy is in Arabic).
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