Get to know Johnny Hachem and some of his music composer philosophy: Johnny Hachem is one of the most brilliant pianists in today’s time. He has performed at various international festivals, including ones held in Ukraine, Lebanon, Switzerland, England, Austria, Germany, France, Spain Poland, Romania, The Netherlands, South Korea, as well as the Arab countries, where he played his solo works. It wasn’t until later on when young Johnny discovered how much talent awaited him in the music industry. He is a music prodigy who started learning piano and composition at the Lebanese Higher Conservatory of Music. He earned his master’s degree there with distinction too! Find extra info at Johnny Hachem.
I love that everything I do is to be original and unique and not only to follow the music market. At the same time I profit from the technology and the new softwares to the maximum. For example, a few years ago, I composed the orchestral music for a documentary film using only the VST instruments. I believe that I must gain from anything that can make the composition process smoother and faster but it must always meet uniqueness and genuine originality.
When asked about his favorite music genre, he replied, “My music is based heavily on the style of Neo-romanticism with some modernistic elements.” According to him, he wishes to see classic romanticism in the young blood of today, and therefore he tends to mix modernism with classics to create some soulful and melodious arrangements. Due to a troubled childhood because of the war in Lebanon, Johnny shared that coping with his academic journey with all those psychological conditions was very challenging. But even after school, whenever there was a ceasefire, he would snuggle up to play the piano which sums up his passion for music.
Who are you listening to these days? Johnny Hachem: Brahms, Wagner & Sibelius. This is a brand new year. What hopes and plans do you have? Johnny Hachem: I am composing 3 new pieces for symphony orchestra, Wind Quintet & String Quartet, I hope they will be performed during this year and loved by the audience! Before we go, could you say a few encouraging words for your fans and readers? Johnny Hachem: First, I want to thank you for those deep and interesting questions and for interviewing me! I want to thank all my friends and fans who believed in my talent and encouraged me throughout the years and tell them to believe always in their own taste and never work against their belief!
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.