The Melodies of Eternity:
A Tribute to Dr. Ragheb Habashy Moftahby Shenouda Mamdouh - Sunday 15th July 2001
In March 1991, my parish church tasked me with conducting research on Coptic Music and presenting a paper, a requisite for graduating from my two-year formation to become a Sunday school teacher. This research aimed to trace the connections between the hymns sung in contemporary liturgical services and those from ancient Egyptian rituals. However, my visits to numerous libraries and bookstores revealed a complete dearth of resources on the subject. The deacons at the church could only offer to teach me the hymns orally, a method that did not align with my interest in preserving more than what I already knew. Consequently, I was advised to seek out Dr. Ragheb Habashy Moftah, a 93-year-old head of the Music Department at the Higher Institute of Coptic Studies.
I meticulously prepared a list of questions and, having read through the Institute of Coptic Studies Magazine of 1958, the 1975 Keraza, and Nabil Kamal Boutros’ Master’s Thesis on Coptic Music, I went to meet him. The encounter was memorable. In a modest room on the second floor of the Higher Institute of Coptic Studies, with a view of the Anba Ruweis area’s backyard, I found Dr. Moftah seated at his desk. The room contained old wooden sound recording equipment and a closet full of audio tapes of Coptic rites, available for sale.
Despite his age, Dr. Moftah was remarkably alert. He welcomed me warmly, and his secretary served tea. Dressed in a distinguished suit and tie, his appearance exuded both luxury and taste. I requested permission to record our interview, but he suggested I take notes instead. As I posed my questions, he answered them thoroughly, defending his position with clarity and conviction. He was aware of modern Copts’ desire to introduce Western instruments into liturgical music, their boredom with their heritage, and some clergy men's preference for singing hymns in Arabic instead of Coptic. He also knew of Western scholars who dismissed Coptic music’s ancient roots. Feeling isolated in his lifelong mission, Dr. Moftah nonetheless articulated his arguments sharply and clearly.
Our meeting lasted about 45 minutes, concluding around 1:30 PM, when he needed to leave. I accompanied him to the taxi that daily ferried him from his home in the Pyramids district to the ICS in Abbassia and back. As the taxi drove off, his wave stirred in me a profound desire to revive the language, music, and culture of my forefathers. Thereafter, visiting his office became a habit, and I frequently called him with various questions.
From our conversation, I learned about Cantor Tekla, who, alongside Erian Effendi Gerges Moftah, was appointed by Popes Cyril IV and Demetrius II to revive Coptic Music. They collaborated with a French musicologist on a now-lost book. Intrigued, I pursued the possibility of finding this book, hypothesizing that French musicologists visiting Egypt for the inauguration of the Suez Canal or Verdi's Aida might have documented Coptic music. However, searches at major libraries yielded no results, and Dr. Moftah seemed resigned to its loss.
In 1993, I followed his advice to publish my first article on Coptic Music in Watani Newspaper. Later, I helped organize the "First Meeting with Coptic Music," aiming to appreciate it as music beyond liturgical confines. Despite initial enthusiasm, subsequent meetings dwindled due to lack of audience.
In 1994, I discovered that Dr. Moftah and Margit Toth were publishing "The Liturgy of St Basil." I assisted with computer editing, though technical failures delayed the project until it was taken over by the American University in Cairo Press. Over the years, I saw Dr. Moftah only occasionally, notably during Easter and Christmas liturgies, where he stood with the Theological Seminary Choir, refusing to sit despite his age.
Dr. Moftah’s dedication was unwavering; he led the choir on trips abroad and continued working on new transcriptions. In January 1999, Pope Shenouda celebrated his century birthday, honoring his contributions. Later, COEPA republished several of his recordings on CD. Despite health setbacks, he remained focused on future projects.
On June 18, 2001, Dr. Moftah passed away at the age of 103. His legacy endures, preserving the ancient musical heritage of Copts. The Nile Valley shall miss him, but we hold hope of singing a new song together in eternity. May he rest in peace and joy with Christ.