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Amid the war in Gaza and the prevailing risk of regional escalation, and despite the challenges strewn along their path, The Baabdath Musicals bravely commenced their seventh musical season on October 10, in what serves as a bold testament to the belief in music’s power to unite, heal, transcend and soothe the spirit.
The kickoff of the seventh season of The Baabdath Musicals, consisting of 10 concerts extending until November 29, took place on Tuesday, October 10, despite the challenging circumstances prevailing in Gaza, where a bitter war also threatens the Lebanese borders. This endeavor showcases undeniable courage and audacity on the part of the organizers, who have persevered in the face of looming challenges and uncertainties that regrettably persist. The hope lies in the belief that music, conveying messages of harmony and unity, can soothe hearts hardened by violence and contribute to a more peaceful world.
The Baabdath Musicals presented an elegant inaugural concert, under the direction of the French conductor, Jean-Pierre Schmitt, highlighting unconventional works. This was accentuated by a touch of originality with pieces dedicated to the saxophone, performed by American saxophonist, Javier Oviedo. The Prelude from “The Deluge” op.45 by Camille Saint-Saëns (1835-1921), played solely by strings with a solo violin passage, established an atmosphere of tranquility and contemplation, reminiscent of a peaceful world from an era before humanity’s rift with spirituality. Subsequently, the Grand brilliant fantasy from the “Carnival of Venice” by Louis Mayeur (1837-1894) infused its springlike and cheerful melodies, poetically contrasting with the French composer’s prelude, thereby symbolizing life’s sweetness and lightness before adversities. The transition to the String Symphony No. 10 in B minor by Felix Mendelssohn (1809-1847) revived echoes of classical influences with traces of Johann Sebastian Bach (1685-1750), Joseph Haydn (1732-1809), and Wolfgang Amadeus Mozart (1756-1791).
Concludingly, the three lyrical pieces (Feniciană for string orchestra, Transumanti, and an Aria for solo saxophone and string orchestra) by Nicolas Chaanine, which inaugurated this musical evening, infused it with a bold contemporary dimension. Their shifting rhythms, swaying from tranquility to the tempest, draw a metaphorical parallel to the challenges and upheavals dotting human history from ancient times to the present. Thus, the concert offered an intriguing musical journey, navigating between the abysses of turbulent waters and the serene reefs of existence, spanning traditional classicism and innovative contemporaneity. A journey reflecting the torment and solace of human emotions, continually evolving amidst these tumultuous times.
Following this performance, the French maestro, now based in New York, Jean-Pierre Schmitt, revisited, for Ici Beyrouth, the circumstances of this collaboration and his relationship with the Classical Saxophone Project he cofounded with Javier Oviedo.
In which musical style does Nicolas Chaanine’s work, which you interpreted last Tuesday at The Baabdath Musicals, find its place? What distinctive elements of this composition caught your attention as a conductor?
As the artistic director of the Classical Saxophone Project, an institution based in the United States and dedicated to the promotion of classical and contemporary music for the saxophone, excluding genres such as jazz or commercial music, I had the pleasure of commissioning a piece from Lebanese composer Nicolas Chaanine. This composition is titled Transumanti. Broadly speaking, Chaanine’s oeuvre stands out for its tonality deeply rooted in the Western tradition, yet it dons a contemporary dimension harmoniously interwoven with echoes, nuances, emotions and reflections drawn from oriental music.
Several facets of Chaanine’s work deeply captivated me as a conductor. Firstly, his music exudes exquisite sensitivity, characterized by an abundance of emotions, slow movements, musical phrases, and sonorities of striking beauty, combined with a remarkably invigorating energy. The deployment of rhythms infused with tangible energy, at times verging on forceful potency, endows the piece with an interesting dynamic. Then, the composition skillfully encapsulates melancholy and tenderness, unfolding an emotional spectrum of considerable breadth. In essence, Chaanine’s music can be likened to a grand mural worthy of admiration.
As the artistic director of the Classical Saxophone Project, how do you select the artists with whom you collaborate and the venues where you perform globally? What lured you to Lebanon and the Baabdath Musicals in particular?
Typically, saxophonist Javier Oviedo and I are invited to concerts and tours worldwide. Our past destinations have included Russia, Moldova, France and Central America, to name a few. The repertoire of the saxophone, be it classical or contemporary, remains largely underappreciated, mainly because people tend to associate it almost solely with jazz. Our mission is to showcase the saxophone’s multifaceted dimensions. Javier Oviedo, as an exceptional soloist and accomplished musician, adeptly highlights these various facets.
Fate serendipitously led me to Lebanon. I had the opportunity to meet a young Lebanese researcher in the US, leading to in-depth discussions about the situation in Lebanon. It was then that the idea to perhaps make a modest contribution to Lebanon, or to assist its musicians by organizing concerts, began to take shape within me. Thus, in January 2022, I made my maiden visit to Lebanon for a somewhat impromptu concert. This trip facilitated enriching interactions with local musicians, spawning a budding friendship. They warmly invited me back.
To be candid, my fondness for Lebanon deepened over time, and I’ve grown deeply affectionate towards the country, where I truly feel harmonious. Thus, I embarked on a second and then a third visit. It was during this period that Chaanine and I conceived the idea of founding the Beirut Chamber Orchestra. The day before yesterday, on October 10, we indeed held our inaugural concert as an ensemble at The Baabdath Musicals. It marked the inception of ambitious future concert projects planned for this year while initiating steps to secure the requisite funding.
Despite works by masters such as Alexandre Glazounov (1865-1936), Jacques Ibert (1890-1962), Charles Koechlin (1867-1950), and Darius Milhaud (1892-1974), the saxophone is commonly linked with jazz. However, the Classical Saxophone Project remains steadfast in its commitment to exploring the realm of classical music through this instrument. In your opinion, how can (or could) the saxophone introduce a novel dimension to classical music?
Following each of our performances, Javier Oviedo and I are often approached by audience members expressing their astonishment at the exceptional tonality of the saxophone. As a musical instrument, the saxophone possesses unparalleled versatility, capable of interpreting a wide range of musical genres. While the saxophone has primarily been associated with jazz, our objective is to demonstrate that this instrument can match the versatility of a violin, equal to the emotional depth of a cello, and exhibit expressiveness on par with a piano. It is high time for audiences to recognize that the saxophone has far more to offer than its historically circumscribed roles, even if it has admirably served jazz thanks to distinguished musicians.
