The climb of a gifted composer : Johnny Hachem: Johnny has performed his compositions as a soloist at several concerts and international festivals in Ukraine, Lebanon, Switzerland, France, Austria, Germany, England, Spain, Poland, Romania, the Netherlands, Lithuania, Belarus, South Korea, Jordan, Egypt, the United Arab Emirates, Bahrain and Qatar. He has also composed the music of many films, most notably the documentary film by Carmen Labaki: “I Knocked on the Temple’s Door”. To his name, he has a piano concerto, clarinet concerto, Violin concerto and a large variety of instrumental and orchestral compositions that have been performed in Europe & the Middle East. See even more information at Johnny Hachem.
There are two schools: one is to repeat accurately and punctually all the previously written compositions, the other is to improvise and feel free to find the inner connection to them. Which one do you favour more? Johnny Hachem:Honestly, both. That’s why most of my solo piano concerts are under the title of “Composition and improvisation recital”. The 21st century brought tremendous amount of digital music making tools, lately even softwares, AIs started to do the work of composing, mixing and truth to be told, the streaming services encourages everyone to release new songs every month or even more frequently. Obviously, there is the question of quality and originality, too. What about you? Can you see yourself as an everyday new song writing artist or integrity and authenticity must meet uniqueness and genuine originality?
Currently, Johnny is preparing for a series of piano concerts that he will perform in various European countries in the near future and says that the proceeds will be donated to the families affected by the war in Lebanon and Ukraine. He believes donating to humanitarian causes gives meaning to his musical message. Johnny Hachem has come a long way, and even though he faced a lot of hurdles, he refused to give up. And finally, he has been successful in achieving his dreams. Now he wishes to guide the aspiring musicians and pianists in the world to accomplish what he has done over the years of hard work. “Do not try to imitate successful musicians and stars. Instead, do the opposite and draw your own unique path. This is the key to success,” he stressed. He is an ambitious, passionate, and emotional person who values deep feelings and cherishes others’ happiness. Johnny Hachem’s message is about peace, and he uses his music to spread it across the world.
Let’s have some fun: Douglas Adams said Bach invented blues. I tend to agree with him. What about you? Johnny Hachem: I definitely agree! For example, the American Jazz composer and pianist, the founder of the “Modern Jazz Quartet” was heavily influenced by Bach. He did a Jazz album of Bach compositions “Blues on Bach” and The American Jazz saxophonist, violinist, trumpeter & composer Ornette Coleman did many solos on Bach’s Prelude in C major. For me, Bach is the father of all music genres.
Johnny Hachem composer and pianist, was born in Beirut. He is a live performer, as well as a film composer. He holds two international awards including the 2009 international award for the Music Composition from the The International Composition Conference (Cergy-pontoise, France). The music industry in the US is huge. With a lot of mainstream and underground musicians trying to make it big in the industry, it is only a handful of extremely talented individuals who shine bright in the crowd.
Classical music these days more of a sub-niche with rigid frames and for many it is boring and full with repetitions. It is true, even Verdi became quite “pop” in some of his works, not to mention Chopin or Donizetti. Ok, maybe Bartok was a different league and an exception; however, there is a trend to “lighten up” the classical pieces to make it more acceptable for the masses. As a composer and performer, how do you see this, what are your experiences? Johnny HachemJohnny Hachem: I will divide my answer into two parts: First, I believe that people listen to classical music more than ever, but that is through movies and video games, however, most of them don’t like listening to it in a concert hall and that’s because of the strict etiquette rules there; you can’t clap between the movements of the musical piece even if you were very excited, you can’t cough now, you can’t move… in other words, you can’t express your emotions as you do in pop or rock concerts… To tell you the truth, it wasn’t like that before. Joseph Horowitz, in his wonderful new book, Moral Fire, describes audiences “screaming” and “standing on chairs” during classical concerts in the 1890s. The New York Times records an audience that “wept and shouted, strung banners across the orchestra pit over the heads of the audience and flapped unrestrainedly” when listening to their favorite opera singer at the Met in the 1920s. And the strict rules started in 1960.