The ascent of a gifted composer : Johnny Hachem: Johnny Hachem is a Switzerland based composer and pianist, who was born in Lebanon to parents of musical backgrounds. His father played Violin while his mother had a great talent for Piano. He developed an impeccable ear refined over time listening carefully to his mom’s music. He grew up surrounded by sounds, music sheets as well chords which served an important role during his childhood years due to war-torn country’s complicated politics. However, whenever fire ceased he would play piano left handed even if it meant practicing alone! Read extra information at Johnny Hachem.

Some of your works are artistic storytelling of war drama, like “The Battle of Siddim” or biblical themes, like “The Fall of Jericho” or your award-winning “Jacob & Rachel, The Love Story” others are more of standalone pieces like “Dawn”. How do you choose your themes? Is there a constant composing process like Haydn had or you go with improvisations to hone your pieces? Johnny Hachem: My musical compositions often talk about specific events that happened in the past or about certain circumstances that I lived or I dream of living. But when I am playing my own compositions in a piano recital, I always like to have a space to improvise according to how I feel at the time. Improvisation is an essential part of composition. The great composer Rachmaninov did this at several concerts when he was performing his own compositions.

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.

Johnny Hachem: If you ask any modern composer, the answer will be simple: because most people have untrained ears. But as for me, there is a different simple answer: most people doesn’t like the contemporary music and art at all. Even the majority of musicians don’t like it! You know, it’s great to have modernistic elements in music and art, but going to the extreme and producing only bizarre things under the title of “contemporary” that most of people can’t digest, is not something I can agree with!

Mingle Music UK, wrote about him: To his name, he has a piano concerto, clarinet concerto and a large variety of instrumental and orchestral compositions that have been performed in Lebanon and Europe. Johnny is also a professor at the Lebanese Higher National Conservatory of Music. He has achieved a Masters degree in composition with distinction. It is true that nurturing talent takes practice, dedication, willingness to sacrifice and, of course, determination to keep the goal clear, even when the spot gets tight. When it comes to utter devotion and perseverance, Johnny Hachem, a Lebanese-Ukrainian composer and pianist, is one musician who has proved that with hard work, you can achieve anything in life.

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.

Meet Johnny Hachem and some of his music work