Purification

Music for me is a quest for absolute beauty. It shouldn’t be a brainstorm quiz, or a simplistic unmoving tune. It’s an encounter that shouldn’t pass by without consequences.
I would describe my music through three basic elements: Tonality- structure- drama

First my music is definitely tonal.
This is an approach I’m convinced in, because tonality in music is equal to gravity in nature. And gravity is the basic reality of the whole universe, from black whole to electron and atom. It isn’t a matter of acquaintance, as atonal followers preach; you can’t defy gravity, and in the same way, you can’t get used to chaos music unless you wish to become mad. It’s a matter of nature, science and reality. So I would consider myself as anti-Schoenberg composer, and a descendant of the great masters from Bach to Bruckner to Richard Strauss.

My music is structured.
I can’t imagine music without melody, or at least some rhythmic or melodic tune. But also, I can’t bare music without structure, or form. I’m way far from improvised music genres (jazz and so on). Melody and architecture, this is my main territory.

My music is dramatic.
It should be living, moving, evolving from a state to another, not static; an ascending rotation rather than a static turning in circle. So I’m more a Verdi than a Rossini; more a Bruckner or Brahms than a Bach.

Coming to the Album “KHALIL GIBRAN- Symphonic paintings”, these tracks were composed originally for the musical dancing play of Joe MOUKARZEL that was performed in BETROUN international festival and in Casino du Liban in 2010- 2011. Music was recorded in UKRAINE by KIEV symphony orchestra conducted by Maestro Volodimir SIRENKO. Oriental instruments and musical effects were added in the Lebanese studio “Media Sound” (sound engineer: Mario NACOUZY). The play is about the American Lebanese writer and philosopher Khalil GIBRAN (known in Lebanon as Gibran Khalil GIBRAN) originated from Becharré, a Christian village in the North of Mount-Lebanon, who also happened to be a painter. The tracks reflect the paintings of Khalil GIBRAN, which express his deepest philosophy and metaphysical thoughts. Being an American Lebanese, music about Gibran has to mix the two elements of occident and orient. Oriental instruments and moods are present next to occidental orchestral music.
The Overture exposes the leitmotiv of the whole play. Its theme shall be used throughout the play, and in other tracks, especially “funeral” “final scene” and “Caveman”.

Mother is a painting reflecting the image of Khalil Gibran’s Mother and his two sisters around her. She was a light in his life, and had to endure much pain and sacrifices for his sake and the sake of her family. The mood is smooth, melancholic, and dreamy. Music is first exposed by Nay (oriental woodwind instrument) over guitar melodic chords, than it moves to a smooth Waltz before returning to the first Nay theme.

The Enchained is another painting reflecting a philosophical approach of man bound by his sins and by the enchantments of life which in fact are chains. The mood is here desperate. Music is first exposed by human voice (vocalize) reflecting the suffering of the enchained marching desperately carrying his chains which follow him. Then, a build-up is carried out by choir, reflecting the chains, and resolving on an orchestral forte. The piece ends desperately on the return of the first vocalize theme marking the exit of the enchained who continues his endless tragic paths.

Purification is one of the major pieces of the Album. It’s about another painting reflecting also a philosophical metaphysical approach of Khalil Gibran on purgatory and the purification of souls before uniting with GOD. Music dramatically ascends from darkness to light resolving in paradise ecstasy.

Dimensions is also a major pieces in the Album, maybe the best. It’s about another painting reflecting the evolutions of man in his seek towards the Absolute. First he’s crawling on ground like insect; then he starts to use his legs and hands like animals, then he’s on two legs, finally he’s flying like angels. Here also, the piece dramatically ascends from rough rhythmic and percussive music (animalistic instinct) to more spiritual liberated melody. The last passage contains a beautiful melody on solo violin.

Jesus Christ is another painting reflecting the evolution of Religion and the importance of Jesus Christ as center of all the Religions. Music here has a symphonic poem texture drawing literally the figures of the painting (Babylonian religion, Indian, etc…)

The Caveman is another painting reflecting also a philosophical metaphysical approach of Khalil Gibran on the evolutions of man in his seek towards knowledge. Oriental music is very present here, with use of Anun and Oud, next to solo violin.

Sorrow is a very sad and very emotional melody for Nay and violin reflecting the near death of Khalil Gibran.

Dance is in fact black dance, a dance of grief more than a dance of joy. Oriental mood and instruments are present (oud daff)

Funeral is a majestic Funeral March.

Final Scene is the ending of the whole play. Grandiose with use of choir and full orchestra.

In 2009, Samir Habchi requested soundtracks for his movie “Gibran” which was broadcasted on LBCI. The trailer had a very positive impact among critics. It’s inserted in the Album as bonus track. Recording was made in Lebanon. It’s more chamber music than orchestral.