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Certain individuals express their character by imprinting it upon their works, thus embodying a complete fusion between their essence and outward appearance. They belong to the captivating realm of creators of splendor, discerning harmony in infinite chaos and mystically and instinctively untangling its complex threads.
Since his early years, Nicolas Chaanine has shown proficiency in playing multiple instruments, as he has undeniably mastered modulating the inflections of his tenor voice. However, in the exploration of self that characterizes every life, a desire to become a composer surfaced and intensified early on in him.
As a child, he was introduced to the enchantment of music through an educational game. Experiencing great composers such as Rachmaninov, Beethoven and Tchaikovsky for the first time, he was utterly dazzled. At the age of eight or nine, his parents enrolled him at the Lebanese National Higher Conservatory of Music for violin studies. A solfège teacher advised his mother on the paramount importance of nurturing the boy’s evident gift, which clearly was an “absolute ear,” urging further musical education. Young Chaanine sang and identified instruments, stimulating his imagination. Yet, his lessons conflicted with his schoolwork, and he had to relinquish them.
At the age of 15, he joined the Film Academy. A definitive return to music occurred when, during the weekly lessons, students listened to movie soundtracks and penned scripts inspired by the notes. Impressively, he managed to envision a plot aligned with the movie’s story nine times out of 10.
He recalls being deeply affected by the score of “Schindler’s List.” He felt the tragedy, visualized the pain and the internal outcry and relished the joy of having such an expressive outlet through composition. He was already skillfully transforming emotions into musical creations.
By the end of his second year, he left the Academy. His father, then the head of a TV station in Libya, faced a rising demand for musical scores for intros, TV programs and advertisements. The intent was also to avoid legal issues concerning copyrights. Thus, at just 16, Chaanine began composing the required pieces. Ironically, he couldn’t yet read music or notes. He recognized sounds on the keyboard but resorted to using line traces in place of notes. He believed his compositions had to emanate from genuine human interpretation and not from digital or electronic software.
His teacher at the Film Academy, a discerning music lover, held classical music in high regard, which influenced Chaanine’s future endeavors. He enhanced his musical knowledge during these years, exploring the world of various conductors and performers. He began to discern the nuances in interpretations and the overall tone imparted to a piece.
He also started learning the guitar and deciphering the various keys in music. Still, the vast range of instruments in a composition called for deeper study.
At 21, he enrolled in the music faculty at USEK (Université du Saint Esprit de Kaslik), immersing himself in musical notation and operatic singing. He undertook lessons in harmony, guitar, piano and singing.
By 24, he felt compelled to teach music for sustenance, choosing classical guitar, even though it diverged from his true calling. He soon realized teaching wasn’t his path, as it distanced him from his primary mission: conveying a message to the world. He believed performers would fade into obscurity. Only creation could bestow immortality on a composer, reaching global audiences.
However, one must possess the gift of composition. When listening to various pieces, Chaanine would often instinctively envision alternate musical progressions, projecting real-time interpretations in his mind. This sparked the idea of composition, which felt like an undeniable truth.
His operatic singing studies were also suspended. A staunch Pavarotti fan, recognizing his voice as unparalleled, he became further convinced of his exclusive dedication to musical notation despite a brief soloist tenure in the Antonins Choir of Beirut and various solo performances in concerts and operas. At the Al Bustan Theater, he performed in an opera during an Italian music festival and traveled to Brazil (Amazonas Theater) and Italy (Naples, Venice). Any external event attempting to divert him from his calling seemed redundant.
A resolute, silent rebel, he declined the mainstream path of celebrated opera singers of the time, focusing solely on composition.
A chance meeting with conductor Jean-Pierre Schmitt, visiting Beirut, proved pivotal. Schmitt had organized a concert post the Beirut port explosion in August 2020 to support the musicians and music students of the country of Cedars. A serendipitous conversation was enough to ignite the spark. The Maestro, having heard some of Chaanine’s early compositions, suggested he write a piece for the “Classical Saxophone Project” in New York. Chaanine was hesitant, but Schmitt’s persistence was fruitful. The brilliant concept was to amalgamate different forms of artistic expression. The humble author of these lines is astounded to believe that her poetic verses might have inspired three of Chaanine’s musical compositions. “Transumanti,” a piece for saxophone and string orchestra, “Feniciană,” a string instrument piece, and “Adamo,” an aria translating the titular poem, were recorded in New York, debuted in Prague and New York and performed globally, like the concert held at Pio Monte della Misericordia in Naples. The synergy of the collaborative project emphasized his belief in art as a unifying force, transcending mere personal interpretation.
Afterward, he ventured into opera composition, a discipline demanding rigor, finesse and exceptional creativity. “Aylan,” inspired by the tragic story of a Syrian boy, resonated deeply, especially during the music recording in Paris. Chaanine used profound layers of instrumentation, crafting his language and emotive depth.
With unyielding dedication and a raw talent for expression, Chaanine has firmly etched his mark on the world of musical composition. As listeners, we are blessed to be invited into his enchanting universe.
