It is one among the most beautiful Haitian folk songs for children. With this in mind, I have done my best to enhance its beauty with my arrangement for a string quartet.
I always believe that we can take our music to different levels. The problem may be for Haitian musicians is not to have a receptive audience the more sophisticated their music is. Besides, “konpa” is being perceived as the legitimate musical expression of the masses. To make matter worse, new talents are embracing acculturation believing that “American jazz” can take them to an international audience. Few of us have remained loyal to our music, not to say that we do not respect artistic freedom, but we believe that it is being pushed asides through “massive fusion” or simply rejected. We sincerely hope that eventually future generations will embrace the “natif” concept as a way to propel our music on the world music scene.
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I remember a few popular Haitian folk songs written for and sung by children when I was growing up. In the wake of so many NGO’s providing music schools in Haiti, I think that it will be a good idea to arrange a few of those songs and make them available to those kind volunteers who travel each year in Haiti and bring the love of music to so many disadvantaged children in my homeland.
They can contact me or “La Société de Recherche et de Diffusion de la Musique Haïtienne” here at (SRDMH) or on Facebook for the scores.
Thank you once again for reaching out to my Haitian brothers and sisters.
Peace,
Gifrants.
Audio
Dodo Ti Pitit Manman
It is hard for me to dissociate my faith from my compositions of classical music. I feel strongly that they are the expressions of my soul and they are taking me so much closer to God, my Father. I do not believe that I have created anything, but being a recipient of such ethereal inspirations whose my brain keeps trying to make sense of through those notes is a divine gift for which I’ll be forever grateful.
“Spirit Minded” is among the scores of “Unbreakable,” my next book which contains 7 pieces for a string quartet–lead violin, violin, viola and cello.
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Spirit Minded
Unbreakable is the title of my next project due in 2016. The “natif” concept would have allowed me to lay down a solid foundation for the future of Haitian music if ever a much more influential musician than me or several musicians have decided to embrace it and ponder this approach.
Haitian classical music would not have to reflect an elitist aspect since this concept is based on the movements and intervals of the “vaksin” and includes also other endemic elements of our music.
The resilience of my Haitian brothers and sisters is anchored in their faith. I, myself, having faced so many challenges throughout my life, have found all the strength, courage and conviction I needed in my faith, faith in God, my Father who resides in the Central Isle of Paradise, faith in my Creator, Michael of Nebadon and his Co-Creator, my Beloved Mother, the Holy Spirit, I have embraced a belief system which allows me still to mention my gratitude to all my older brothers and sisters, invisible at will among us, and to the gods whose presence I have always felt and whose guidance has been always so helpful.
Music has been and will remain until I’m gone my personal line communication with God, my Father, in the light of my fate to be with Him in His kingdom. Unbreakable Faith, the core of my existence!
Unbreakable Faith, written for a quartet–Lead violin, violin, viola, cello.
For those who have read a few of my posts about Haitian classical music, you may have known that I do not write sonatas, concertos, or symphonies. My approach in this genre has been rather particular. Pieces I have written for a quartet fall under the “Chantrèl” category, those written for a philharmonic orchestra, under “Mizkla”–Mizik Klasik Ayisyen (Haitian Classical Music) and the real innovation is “Sètfwasèt” (7 by 7.) Pieces written for a septet fall under this category. This septet is divided in 2 quartets–Lead Violin, Viola, Cello, Double bass and Lead Violin, Violin II, Viola II and Cello II.
Sètfwasèt, Konbinezon, No. II is my latest composition. I just want to bring Haitian Classical music to a contemporary level where maybe one can talk about “the modernization of Haitian classical music,” not that conventional techniques are not being used but rather because the emphasis is strong put on the endemic elements of our music with this dissonant tone which is authentic to it.
Please, enjoy!
Sètfwasèt, Konbinezon, No. II, Movement I to V
Sètfwasèt, Konbinezon No. II, Movement VI and VII
Sètfwasèt, Konbinezon No. II, Movement I to V
Sètfwasèt, Konbinezon No. II, Movement VI and VII
P.S. Because of limited capacity for uploads, this piece has been divided in 2.
As a composer, I can hear my own compositions the way I personally hear them. I strongly believe that it is a mistake to expect any interpreter or anybody else to hear my music and understand my music exactly the way I hear it and I feel it. I do not expect anyone to play my music “better” than me. I expect every interpreter to feel and execute my music the way he or she feels it. There is nothing wrong with that. I feel very comfortable about it. In fact, I may prefer the way he or she plays my music. This rigidity that demands exactness or perfection in the way scores are written is only laudable on a technical aspect. That’s the problem with classical music—playing the scores exactly the way they are written does not mean at all the composer’s feelings are conveyed. Those techniques and articulations mentioned suggest more the way the notes must be played in order to convey feelings and emotions no one “feels” exactly the same way. As a composer, unless there is a major departure from what it is written, the interpreter is free to express himself or herself on my music which is intended to convey solely our humanity from our soul, the essence of our existence and immortality.
This is what happens when music feeds my soul and I want to celebrate this spiritual communion!
It is hard to describe how I enjoy taking Haitian music to this level where most musicians of my generation believe that our music is not either as sophisticated or as challenging as Jazz and western music in general. I have to smile a little bit about it. Our African roots are as deep as any other race on this planet and we, Blacks, may be closer to the Gods from God than most people think. HA!
From my next book entitled “Faith and Soul”, which has 12 compositions written for the cello, a piece that brings out the syncopated and percussive aspect of our music
My next book entitled “Faith and Soul” contains 12 solo pieces written for the cello, and it is due in July.
Though I am not a cellist, my love for this instrument has motivated strongly to write for it. As I mentioned before on one of my prior posts, I do not write concertos or symphonies. However, expressing my feelings with this instrument has brought me an unfathomably great pleasure.
From my next book, one of my favorite pieces.
I express it in music.
Joy of Spring (solo piece for the cello)
Space is not dark. Once one leaves this planet, eyes alone won’t allow one to see the zillion lights in space within the widest spectrum beyond our imagination. Few astronauts so far are able to glance at this humongous universe filled in fact with countless visible galaxies and spheres invisible to all physical beings. However, all of these marvels are mapped on my soul for it is a world where I belong. I have looked beyond the sun.
Beyond the sun
Solo piece written for the cello
I’m very happy to inform that I have submitted one piece entitled “The Light Within” to the 2015 contest organized by El Sistema of Massachusetts. While I was not the winner of this contest, this piece was well received by the jury so much so that I have agreed upon their request to have it played by all El Sistema programs in the USA and around the World. I want to congratulate the winner Ms. Danielle Williams, thank the members of the jury and Ms Diane Cline for giving me the opportunity to have my music heard.
The Light Within
Open my heart and see this light shining
It’s feeding my soul with love
Will you hold my hand
For I’m just a friend
Passing through this land
Before reaching the stars
High in the sky
There in the heavens
I’ll be shining some day
From this light within
Open my heart and see the light within
Open my heart and see this light shining
It’s feeding my soul with love
With love, with love
Lyrics and music by Gifrants.
A prayer in music without words conveys the sublime state of one’s soul in this inner quest for peace. Expressions of emotions in the silence and fulfillness of the Holy Spirit grant great appeasement from the celebration of the grace of God, my Father, in the midst of my supplications.
Solo piece written for the cello. (Ecrite pour le violencelle seul.)
The Waltz of Mercy/La Valse de la Miséricorde
