Gabriel Asaad

Gabriel Asaad (Syriac: ܓܒܪܐܝܠ ܐܣܥܕ) (March 18, 1907 – July 6, 1997) was an Assyrian composer, musician and nationalist. His classic songs include "Ho Donho Shemsho" (Syriac: ܗܐ ܕܢܚܐ ܫܡܫܐ, lit. 'The Sun is Shining'), "Motho Rhimto" (Syriac: ܡܬܐ ܪܚܝܡܬܐ, lit. 'Beloved Nation') and "Moth Beth-Nahrin" (Syriac: ܡܬܝ ܒܝܬܢܗܪܝܢ, lit. 'Mesopotamia, My Nation').

Gabriel Asaad ܓܒܪܐܝܠ ܐܣܥܕ
Gabriel Asaad in 1962
Born	(1907-03-18)March 18, 1907 Midyat, Ottoman Empire
Died	July 6, 1997(1997-07-06) (aged 90) Stockholm, Sweden
Known for	Composer and Assyrian nationalist

Inspired by nationalistic activities, which he began in Syria,^[1] Asaad is considered a pioneer in modern Assyrian folk-pop music, having composed the first song in Turoyo.^[2][3][4] He performed in various dialects of modern Neo-Aramaic languages. Today, he is retrospectively regarded as a master in Assyrian music and is regarded as a popular hero among Western Assyrian musicians.^[5][6]

Asaad playing the violin alongside Serop Yaqub (clarinet) and Aram Tigran (jumbush) in Qamishli, c. 1960's.

Early life

Asaad was born in Midyat on March 18, 1907 to a Syriac Orthodox family. His surname was derived from his father, while his "official" surname was "Some".^[7] Shortly before the Assyrian genocide in 1914, his family moved to Adana where he studied languages at the "Taw Mim Semkath" orphanage school under Philoxenos Yuhanon Dolabani,^[8][9] and then to Damascus in 1921.^[10]

His years at the orphanage school would influence his passion for Assyrian identity and music, with his early inspiration from Syriac Orthodox hymns. Although nobody had ever pursued music in his family before, his parents did not object to his wishes of becoming a musician.^[7]

Career

In 1926, Asaad moved to Beirut^[8] and began to play the violin as his choice of instrument.^[7] It was there that he composed his first song, "Othuroye Ho Mtoth Elfan l-Metba'" (Syriac: ܐܬܘܪܝܶܐ ܗܐ ܡܛܬ ܐܠܦܢ ܠܡܛܒܥ, lit. 'Assyrians, our Ship is Sinking').^[3] Between 1931 and 1936, he lived in Mandatory Palestine, composing and performing more music, including two pieces commemorating the Simele massacre (Sohde Othur).^[9] During his stay there, Asaad performed music with many Arab artists such as Marie Jubran and Saleh Abdel Hai. He moved to Qamishli in 1937.

In 1953, Asaad wrote a book about music containing his works, and six years later found work as a musical director in a cultural center in Qamishli to continue his work.^[8][11][12] As Arab nationalism began to rise in Syria, Asaad's book was censured and only thirteen of his thirty songs could be published, and he took great notice of the trend of Ignatius Aphrem I's stance against Assyrian identity.^[13]

Asaad briefly led a scout celebration featuring fellow Assyrian musician Ninib Lahdo playing the cümbüş.^[14] During this timeframe, Asaad was also giving musical lessons to younger Assyrian musicians such as Gabi Shimun, Joseph Malki, and Fuad Ispir.^[9][15]

Like with other musicians such as Nouri Iskandar and Joseph Malki, Asaad maintained that Syriac chant and sacral music was rooted in pre-Christian origins influenced by the surrounding region.^[16][17] Before his passing, he published a book titled "The Syrian Music Throughout History" (Arabic: الموسيقى السورية عبر التاريخ),^[10] which documented musical nodes and an ancient Syriac musical scale.^[8] His last song, Ema G-ḥozena Shlomo? ("When will we see peace?) was recorded in 1984.^[9][12]

Personal life and death

Asaad's son Sardanapal was encouraged to take up fine arts and studied music with the help of Asaad.^[18] He moved to Sweden in 1979 where he would stay for the rest of his life.^[10] He died on July 6, 1997, at the age of 90.^[8]

Legacy

When asked about the developments of Assyrian folk-pop music, Asaad remarked that he was proud that it could now be played freely without issues.^[19] He is remembered as the leading composer for West Assyrian music during the 1930s and 40s, and whose music created a backbone for Assyrians in Sweden as they began building up activities.^[6] His work is also regarded as a conquest for taking back Assyrian folk-pop music from the realm of the church, who restricted its adherents from composing music.^[16]

Asaad's compositions have since been documented by his son Sardanapal, and his compositions have become a standard among Assyrians today.^[7] In 2006, a collection of his work was released in Sweden on a CD titled "An Assyrian Music Pioneer".^[12][20]

See also

• List of Assyrian musicians
• Assyrian folk-pop music