Every birth is the result of a long gestation paved with fortuitous encounters, amusing coincidences and constant work, often sown with obstacles. Just like the child who is born through the encounter of two beings, the musical work is born from the intersection of the path of his creator with those of an unknown number of beings or with unforeseen events whose narrative will subsequently feed a thousand crisp anecdotes. What seems fortuitous suddenly has a clean meaning. Creation is born of desire and a dream that suddenly takes shape and acquires its deep personality.
We are in Paris, at the Pavilion of the Mermaid, on this evening of June 19, for the world premiere of « Baalbek II », a two-part work by Noémie Ochoa (known as a composer under the acronym NMCH). Several contemporary pieces are included in the programme, including « Transumanti » by Nicolas J. Chaanine, Lebanese composer whose reputation is no longer to be done, « Vocalise » by Hélène Rasquier, recently deceased, illustrious friend of Jean-Pierre Schmitt, conductor of the French orchestra installed in New York, who came especially to Paris for the occasion, « Caprice » by Eugene Ysaÿe, after the study in the form of a waltz by Camille Saint-Saëns, performed by the magnificent violinist Eva Gris. Everything is harmoniously inserted with the concerto for oboe and violin BWV 1060 (version for two saxophones) of Bach, where the saxophones of Javier Oviedo and young and talented Luisma González Jiménez talk.
An intense and discreet personality, the composer and pianist NMCH is installed back in the room and follows with emotion each note of the work — originally written for piano and saxophone (Baalbeck I) — rewritten for string and saxophone ensemble. The orchestra of Saint-André-des-Arts, created by the violinist Régis Ytier, professor at the École Normale de Musique de Paris, is directed by the Maestro Schmitt, a French citizen of New York, and welcomes for the occasion an eminent figure with impeccable interpretation and powerful breath: saxophonist Javier Oviedo, who also arrived from New York with Jean-Pierre Schmitt.
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It was from the fortuitous meeting of the maestro Schmitt and the saxophonist Oviedo with Noémie Ochoa, in his studio itself, during an appointment with the late Hélène Rasquier, that artistic collaboration had begun. Very quickly, an exchange settles. Jean-Pierre Schmitt, a Lebanese lover and a great admirer of Lebanese artists and musicians, contributed to the birth of the Beirut Chamber Orchestra, presided over by composer Nicolas J. Chaanine. He himself leads the CSP (Classical Saxophone Project) in New York. He shares with the young woman his passion for the land of cedars and describes the artistic delight that prevails there. He first ordered a piano and saxophone piece for the CSP. Noémie Ochoa does not know Lebanon, but a sensitivities to the skin and a great intuition open up the edges of an artistic and emotional landscape which she discovers with fingering. She listens to Feyrouz, takes on the magnificent song written by Gibran Khalil Gibran in his work « The Book of Processions », put into music by Lebanese composer Najib Hankash. First, she wishes to pay tribute to Feyrouz’s theme by incorporating her work. She deepens her research on Lebanon, her troubled history, and follows the news. In 2024, the area around the fabulous Baalbeck site was bombed. NMCH spontaneously decides to dedicate the work to the magical place where the world famous Roman temples stand, on which Feyrouz has repeatedly sang the poets and love of the country.
Thus comes the first part of the work, a reflection of a soul disturbed by the noise of aerial bombardments, fed by empathy for the suffering of others. The work « Baalbek II » is first tormented, which expresses the anxious and acute fluctuations of the saxophone to which the string ensemble responds in a crescendo of serious notes. Césures mark the tragic effect created by music. The walls of the land of Canaan are believed to fall under the sounds of the trumpets of Jericho. The transition between the two parts is smooth, in a skillful and sensual mutation of notes that envelop the theme of Feyrouz and exalt in a clever musical abym. It is the saxophone that emulates the song of the flute, while the stringed instruments build in watermark a box worthy of Gibran’s theme: « Give me the nay and sing! / Song is secret of immortality / And the complaint of the day survives the annihilation of existence. »
NMCH’s talent as a composer imposes itself through the translation of the dramatic moment and lyrical work into powerful musical writing, where harmony, touch and rhythm are mastered. The young woman, an assertive pianist, was trained among the greatest teachers. Destined to interpret Beethoven’s music on a classical path, she imposes herself as a resolutely modern composer, listening to the pulsations of the world, able to narrate the dramatic moment and to make him implode by insuffusing hope, and likely to gather knowledgeable music lovers in the most classical sense of the term and followers of the free note, open to new musical languages.
Moved by listening and public emotion, Noémi Ochoa in turn thanks the orchestra which she followed, with the permission of the Maestro, the rehearsals and the mastery of the work performed in the allowed record times. The new-York saxophonist’s maestria and the talent of the musicians of the Orchestra were created by the perfect conduction of the artist’s intentions.
It remains to be hoped that Jean-Pierre Schmitt will one day lead the Baalbek II on the steps of Baalbeck, during the splendid eponymous festival, and that the Lebanese public will discover the tribute paid to the most prestigious site in his country. NMCH, once the cannons are silent, should urgently discover the majestic temples to which she dedicated this work woven soul and light.
The composer greets Javier Oviedo, saxophonist of the CSP (classical saxophone project in New York) and conductor Jean-Pierre Schmitt.
Performance of Baalbek II at the Sirene Pavilion in Paris.
Portrait of NMCH
The conductor Jean-Pierre Schmitt leads the orchestra of Saint-André- des-Arts.
The conductor Jean-Pierre Schmitt is the leader of the Baalbek II
Saxophonist Javier Oviedo playing under the direction of Jean-Pierre Schmitt in « Baalbek II »
In the foreground, to the left, violinist Régis Ytier, at the origin of the orchestra of Saint-André-Des Arts
Capture of an intense moment during the performance of NMCH’s Baalbek II
Capture of an intense moment during the performance of NMCH’s Baalbek II
The Javier Oviedo saxophonist warmly congratulating NMCH after the concert
Javier Oviedo, New York saxophonist of the Classical Saxophone Project during the performance of Baalbek II
From left to right: the soloists protagonists of the concert: saxophonist Javier Oviedo, violinist Eva Gris and saxophonist Luisma Gonzalez Jimenez. Violinist Régis Ytier congratulates conductor Jean-Pierre Schmitt.
