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" (), "Motho rḥimto nisho dil" (), "Monaw kuoro" () and "Moth Beth-Nahrin" ().
Inspired by nationalistic activities, which he began in Syria, Asaad is considered a pioneer in modern Assyrian folk-pop music, having composed the first song in Turoyo. He performed in various dialects of modern Neo-Aramaic languages. Today, he is retrospectively regarded as a master in Assyrian music and a popular hero among Western Assyrian musicians.thumb|315x315px|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". 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, and then to Damascus in 1921.
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.
Asaad briefly led a scout celebration featuring fellow Assyrian musician Ninib Lahdo playing the cümbüş. During this timeframe, Asaad was also giving musical lessons to younger Assyrian musicians such as Gabi Shimun, Joseph Malke, and Fuad Ispir. Originally, Asaad was considered to compose poems by Danho Dahho such as "Shamo mar" (), but rejected the composition since he mostly composed songs in Classical Syriac. The song would eventually be given to Habib Mousa and recorded in August 1968.
Like with other musicians such as Nouri Iskandar and Joseph Malke, Asaad maintained that Syriac chant and sacral music was rooted in pre-Christian origins influenced by the surrounding region. Before his passing, he published a book titled "The Syrian Music Throughout History" (), He moved to Sweden in 1979 where he would stay for the rest of his life. 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. 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.
Asaad's compositions have since been documented by his son Sardanapal, and his compositions have become a standard among Assyrians today. His legacy was additionally carried on by other musicians in the Western Assyrian community.
See also
- List of Assyrian musicians
- Assyrian folk-pop music