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New York-based French conductor Jean-Pierre Schmitt was deeply moved by the Land of the Cedars shortly after the devastating port explosion in Beirut in August 2020. In a testament to the universal language of music, Schmitt’s encounter with Lebanon sparked a profound idea. Accompanied by New York saxophonist Javier Oviedo, Schmitt’s initial concert did more than simply amass funds for musicians from the Lebanese National Orchestra. It fostered profound connections with artists who had endured the 2020 port tragedy and the economic crisis ravaging Lebanon at the time. A fortuitous encounter with the youthful composer Nicolas J. Chaanine set the stage for prosperous future projects. Some friendships birth collaborations that prove to be among the most enduring and fecund. Within this exquisite formula, poetry — which I humbly reveal as my own — acts as a spark, a catalyst for igniting notes and emotions.
Music by Nicolas J.Chaanine
Following the recommendation of a Canadian-German journalist friend, Natja Igney, based in France, I reported on Schmitt’s inaugural concert in Lebanon on “Ici Beyrouth.” The article initiated a dialogue with the Maestro, leading to an exchange of poems from the compilations “Fleur de sel” and “NUSA.” A conversation thus began and continues across three countries, namely Italy where I reside, the United States where Maestro Schmitt dwells, and Lebanon, home to the composer Chaanine — orchestrated by Schmitt himself, the benevolent patron of an uncommon creative flow.
“Adam,” a poem transformed into an Aria, “Transumanti,” a musical piece for saxophone and string instruments, and “Feniciană”, a composition for string instruments, materialized within a year or so, propelled by the genius of Chaanine at Maestro Schmitt’s suggestion. The verses dissolve and morph into notes for string and wind instruments. The premiere of “Transumanti,” presented in New York, was recorded with the Prague City Orchestra in August 2022.
The concept of a concert in Naples gradually took shape. Schmitt and Javier Oviedo, the artistic director and co-founder of the Classical Saxophone Project, set off for Italy. A Neapolitan orchestra of string musicians was engaged under the auspices of the Maestro, once again intent on directing the proceeds from the Italian concert to “Helping Hands of Lebanon,” a non-governmental organization that supports and aids Lebanese musicians affected by the country’s predicament.
An unparalleled venue was designated for this event, the deconsecrated chapel of Pio Monte della Misericordia, which houses one of Caravaggio’s most beautiful works. This masterpiece of the Italian maestro of chiaroscuro, “The Seven Works of Mercy,” has never left the precise location where it was created over four centuries ago. Following the curator of the museum, Maurizio Burale’s liaison with and approval from the governors of “Pio Monte,” the magnificent chapel welcomed Maestro Schmitt and his orchestra for one night in June. The beautiful Cécile Patel, having arrived from Rome, performed Adamo with her splendid voice. The attendees were effusive. Underneath the altar topped by Caravaggio’s painting, Adamo was reborn. The primeval man from the poem surpassed all borders carried by the notes.
Members of the Inner Wheel invited by Lucia Ascione, president of the eponymous club of Torre del Greco, discerning Neapolitan music lovers, and tourists captivated by the concert’s poster, applauded the bewitching music from afar. The notes of Transumanti resonated under the dome of a thousand starry nights where the shepherds of the Levant held fraternal dialogues over the hills of the East. The brilliant performance by saxophonist Javier Oviedo was unanimously praised. Following the concerto for strings and saxophone by Marcello, the Italian musicians conveyed the tormented notes of Feniciană under the guidance of Maestro Schmitt, a fusionist of arts and cultures.
In the wake of the first concert, a second event was organized at the San Pasquale Baylon complex in Portici, upon the invitation of the cultural advisor to the Municipality of Portici, Martina Albo, and municipal councilors of Herculaneum, Piero Sabbarese and Florinda Verde.
Thus, a captivating connection was formed as Chaanine’s music and passion for Lebanon intertwined within Caravaggio’s genius. May men of good will, assemblers of dreams and generators of ideas, be praised. Once again, beauty has demonstrated its capacity to save the world from its internal demons, revealing the most invaluable treasure that some individuals possess: their humanity.
Photos courtesy of “Pio Monte della Misericordia”
The photos of Portici are by Luciana Portoghese and Florinda Verde