• Introduction
• Moallem Takla
• Mlm.Mikhail Gerges El-Batanony
• Moalem Mikhail II
• Moalem Mikhail III

This genius artist was born by a rich father who loved music and mastered it and received part of it on the hands of the knowledgeable monk Botros Moftah El-Antony who died on 1875.
 
 
 
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In Mlm.Takla's times hymns were in their way to vanish and needed more artistically originality and balance.. God helped Mlm.Takla to accomplish this dangerous mission.. Pope Kyrollos IV assisted him with all the tools and supplies.. He searched everywhere, from the North to the south and from east to the west He collected hymns he found artistically tight and right.. Until he collected in their best form all Coptic Tradition hymns cited by Abul-Barakat Ibn-Kabar in his valuable Encyclopedia in 1320 ac.

Mlm.Takla was the instructor and teacher in the (Kottab - Small Class) affiliated to the Patriarchate where rich people used to go until HH Pope Kyrollos IV inaugurated the 'Coptic High School'.. My father (who was a student there) used to say that Pope Kyrollos transferred them from this Kottab to the High School and appointed Mlm.Takla, Hymn Instructor then a priest for the Patriarchate then the Superior for the High School as very knowledgeable in the church's rites..

Mlm.Takla issued with the co-operation of the French Musician "Gro" a valuable book about music.. I searched so long for a copy and never found any single trace.. He issued with Erian Efendy Gerges Moftah and for the first time "The Deacon Service Book" Khedmet El-Shammas since 116 year!!

With the permission of Pope Kyrollos IV he added to the Coptic Hymns treasure some ancient Greek Hymns such as "Ton Sina Narkhon Logon..", "To Leesos.." and "Ee Parthenos..." it merged and found comfort with all Coptic Hymns as happened in the past with the Greek Alphabet Set..

Mlm.Takla composed a Coptic Hymn in the profound spirit of Coptic Music for Ismail Pasha Khedive of Egypt.. The Khedive was very impressed so that he offered him the degree of Bek.. As Mlm.Mikhail told me and sang it to me It took 12 minutes long !!I felt that Mlm.Takla was a Coptic Man, artist, living in the first centuries of christianity !! He composed as well wonderful Coptic songs that might be considered as folklore.. Many of Moftah's families used to sing them at home..

I can't forget here to say that Pope Kyrollos asked Erian Bek MOFTAH to fix the pronunciation of Coptic Language which was perishing over centuries.. He succeeded in that and that helped to sing Coptic Hymns in an easier way..

God's blessing, 7 Cantors received all the treasure from Mlm.Takla and mastered it perfectly.. It was really a reformation for the Church Art.. The Lord blessed it on the hands of Pope Kyrollos..

But this genius artist became crazy in the end of his days It seems that was due to his overwhelming artistic feelings during his whole life.. Among these 7 some stayed in Cairo others went to other places such as Tanta and Damanhour..
 
 
 
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As he reached his 19th of age he mastered the art of Church Music and was appointed as Archpsaltos in the Patriarchate and first professor of hymns in both the Theological Seminary and the Cantors's institute.. That didn't bind him from increasing his treasure when any chance existed..  He brought a beautiful hymn from El-Menia "Apinav Shopi.." which wasn't available in Cairo.. He didn't save any time to study and assure and compare with other Moallems anywhere..

He was a loud "Baritone"   which is the most suitable voice for Church Music.. His rhythm and counting was also good, performing notes clearly without any mistakes or deviation.. That's why although his voice went hoarse when becoming old, he was still the most preferred one to perfection seekers..
 
His ears and sub conscience were also very sensitive to music.. When he was old, it happened for him to sleep profoundly while one of the students was performing a hymn to him.. If the student made any mistake in melismata he waked up.. He was really sleeping but his musical conscience never slept.. This phenomena was always happening.  All of us saw it many many times.. And never it went wrong..

He was during his working life in the church (70 years), the master of the word and situation in the whole Nile Valley.. directing all the church hymns and annual even seasonal modes and rites...  Nobody could memorize what he did.. It was scarce when someone could know a close number of hymns as he did.. Among whom, Mlm.Nassif Abdel-Messih who is still living..

Some of the first, others from the second generation, among his students loved to be known of them that they received all what he had..  I told 4 of them that I wanted to record the Gregorian Mass in their voices.. These 4 were Mlm.Farid Ibrahim, Mlm.Mikhail Salib, Mlm.Beshay, Mlm.Boules Iskander (Mansoura).. They accepted.. and when seeing that I meant what I said they said: "We want to assure our hymns with Mlm.Mikhail" That 'assuration' was in fact receiving the Mass from it's very beginning!!

After that, each of them took one only part to master.. That took about 2 months of work and concentration in Alexandria until I was able to record it from them.. With them was Rev.Hegomenos Morcos Gerges (Matay) who recorded the "Reconciliation" and student from the Theological Seminary in Mahmasha.. All of them are now priests and deacons.. This study began in Alexandria and remained, ten years before the inauguration of the Coptic Studies Institute.. It had high productivity.. That was because they were consecrated to study all day long with a knowledgeable Cantor who was never bored.. Students had hunger to receive from him and also loved to pass the Summer in Alexandria..

Among those who attended these studies people which I mentioned previously, Mlm.Tawfik Youssef Cantor of El-Moharak Monastery, Mlm.Sadek Attalla, Dr.Youssef Mansour and other deacons from Cairo and all Egypt's churches...

I opened a center in Old-Cairo, another close to Babelhadid Square in Cairo for old cantors to assure and receive..  Mlm.Mikhail really made a huge effort with patience and love.. Everyone who attended these classes was remunerated at 25 Pt. Allowance of transportation.. That work returned with a big profit on assuring and spreading hymns in Liturgical services and Specialized institutes..

I send Mlm.Mikhail to El-Moharak Monastery 2 times without it's request.. He left there a big influence and profit which I can still feel ...
 
 
 
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He was able to recite any hymn begining from any verse or place without the slightest hesitation.. Sometimes he knew two tunes for the same hymn.. Among which: the Joyful Agios, the big Tishory. We did in vain record both tunes as we did record all hymns from him.. Also we recorded the big "Tee oy en hikanos.." which takes 50 minutes!! No one now knows it except Mlm.Nassif Abdel-Messih and Mlm.Tawfik Youssef (Moharek Monastery)..  So none of the hymns perished..

Mlm.Mikhail assured me that the Kyrollos Mass music perished long time ago..  Nothing is available except "Ouoh Nay.." and Not we O Lord "Oukoty je anon.." the response for the Commemoration of the Saints in St.Kyrollos Mass which is sung in Lahn-Ayoub, the tune of sorrow..

Mlm.Mikhail composed some music for some parts of the Kyrollos mass..  Among people who received these hymns he composed was Fr.Athanasios Boutros before leaving for St.Mina Church - Fleming, Alexandria.. Some of them claimed that it is the right tune for this mass..

Concerning the tune which HH Pope Makarios III used.. we found a document in his hand writing, which he wrote since he was Metropolitan for the Diocese of Assuit.. where he wrote that it is his' and suitable..

I didn't record any of the previous two unless one claims in the future that they are the original tunes for this mass..

Here is a secret I am telling for the first time: the monk Fr.Abdel-Messih El-Massoudy the young wrote a paper in his own hand writing and signature were he says that Mlm.Mikhail entered some prolongements to the responses of the Mass and to some Awashies which were not there since the begining of the 20th century

After the study of this issue I found that all the responses "maradat" of the mass are original, balanced and beautiful.. No pronlongements were made except in very few of them such as "Ke to Pnevmati so.." which is better when shortened.. also "Keryeleison" which comes on it's same tune.. Knowing that some responses "maradat" have equivalent Big tunes usually used in the "Sayedeya" feasts.. like nativity and resurrection..

Some parts of the mass which are common between the 3 masses (As the commemoration of the Saints) appear to have the same music in the Gregorian Mass as in the Basilian Mass BUT in grand and prolonged in some parts because it is a ceremonial mass for Nativity, Baptism and Resurrection feasts..

It seems that Hegomenos Abdel-Messih El-Massoudy who scientifically revised the 3 masses, commented them and added foot notes was probably influenced by the "Zeeneya Bahary" style (Near Luxor) which merges the church music with "Speaking" or reading during the mass or what was called in monasteries to a very close area "The Mass in secret" which targets to shorten the time taken by the mass.. Among it's characteristics that is not clear and unlogic..

I think that the perfection of the church's traditions by both the priest and the deacons is a very important tool to recite them in joy and life..  It won't take more than 90 minutes from the offering of the incense until the end.. Adding to that 12 minutes for the speech.. which should be with the Mass' Prayers, the readings and hymns short and concentrated...

I began my work with Mlm.Mikhail in Winter 1928 as I had already brought the International Musician Prof. Newlandsmith to transcribe both the hymns and the masses of the Coptic Orthodox Church..  People were claiming by this time that Mlm.Mikhail is changing the hymns so I felt afraid to bring him.. I collected names of all cantors in Egypt and asked all of them to come from Cairo and all over Egypt.. Prof. Newlandsmith listened to them all and then told me: "I want to apologize and cancel our deal because I can't do this job accurately.. These cantors' voices are not clear and pure and include a lot of deviations.."

So I brought Mlm.Mikhail who saved the situation at the moment!! I still remember this decisive separative instant in recording the Church Hymns as if it was just now!!.. We were on a Golden ship in the Nile in front of El-Dobara Castle.. Under us, the Nile flew silently surrounded by wonderful gardens by both beaches.. Mlm.Mikhail came.. Two great artists met!!  I asked him to recite a Coptic hymn to the professor.. An example showing beauty and value of the Church Music.. He performed the hymn:
        "Vi et ou enmashg..." - "If you have ears, then, listen to what the Spirit says to the churches".. On the tune of Hymn of Vertus and other hymns...

In this same moment Prof. Newlandsmith said: "I understood what he said clearly. Now I can do my job accurately" and went on doing this job daily (Except in the Summer) for nine years in a silent corner.. But active as a bees cell..

Mlm.Mikhail realized profoundly the importance of this work to the whole Music Inheritance.. He did his best from his profound feelings and heart.. He preferred it to all his duties and responsibilities (Which were many..)  In winter 1930 we should move because the ship had to be restored..  We were forced to take our things and move to the village where my father had just built the new Villa.. We stayed there working in complete isolation for three months.. Mlm.Mikhail left everything: his home and several duties in the church, Theological Seminary and Societies..

He was so active that Prof. Newlandsmith felt he was making big pressure on him to work and objected saying: "The artist should be left to work without pressure That doesn't provide him the suitable atmosphere for work..".. I will never forget Mlm.Mikhail at the end of each working season (before summer) asking and begging Prof. Newlandsmith to transcribe one more hymn just one more..  The prof. was replying: "I am preparing myself for traveling" but the Mlm. was keeping on asking in all sincerity and children's curiosity.. That is an evidence of what I stated previously (from his words) concerning St. Kyrollos Mass.

Interesting situations happened, I brought one day Mlm.Salama from El-Mahala El-Kobra (He was old and couldn't come before) He was an old man wearing a black beret similar to the priests'.. So when Mlm.Mikhail arrived, Mlm.Salama remained calm and silent in his room so that nobody could feel him.. But the priority was always for Mlm.Mikhail.. A long time after Mlm.Salama's departure I told Mlm.Mikhail.. He laughed so much.. and felt happy for this benefit and accuracy we wanted..
 
 
 
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One day, HH Pope Youannes XIV visited us for he liked this job very much..  He told us his great joy about it.. We went to visit HH and have His blessing HH was praising Mlm.Mikhail so much. So Prof. Newlandsmith told HH that it's not enough he should get a respectable retirement insurance and be appointed only for the important work and to get a personal car for transportation..

This work lasted until 1936, all hymns were transcribed, as well as both St. Kyrollos and St. Basil's Masses in 15 Volumes.

The great musician Hans Hickman who spent all his life searching for Ancient Egyptian's Music and the best who have written about it asked me to help him studying Coptic Music, I gave him some of these volumes..  I visited him frequently accompanied by Mlm.Mikhail and he visited the Patriarchate also.. It was proofed that hand signs made by Mlm.Mikhail when reciting hymns are the same done by Ancient Egyptian singers and musicians while singing.. Mr.Hickman is one of the people who support the point of view that Coptic music has it's old sources in Ancient Egyptian art..

The third characteristic of Mlm.Mikhail during his 70 working years is that he was working all day long since it's begining until he did finish his work at 10:00 pm night of April 18th, 1957 and died at 12:00 pm of the same night..  He was specialist in Coptic language, knowledgeable in the church's seasonal rites and very skilled in Arabic Language rules..

He was kind inside his heart sincere in his soul and humble having all the advantages and characteristics of artists or scientists.. He was living in Fagalla in a street that showed the vaste "Jesuites School" calm gardens.. His first wife was a great woman very Coptic in her style..

He kept visiting me during his last 3 months saying "I am leaving" - "Ana Mashy" so I was joking with him saying: "No wait! wait! we still need you" he replied: "I love you so much.. you are the one who preserved the Church music art" I told from my most profound feelings:" But the honor, all the honor is to YOU"

 
 
 
 
 
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I tried to translate it.. As my native language is Arabic and first Language is French, sorry for the poor English which was unable to transfer all the included feelings.. But it provides VERY important
information about Coptic Music in Modern Ages..

That was all..

Translator
Shenouda Mamdouh