Get to know Johnny Hachem and some of his music composer philosophy: 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. Find additional info on 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.

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.