Francois le Roux was in crisis. The prodigy who performed with symphonies since childhood lost his motivation to play.
"I felt it wasn't enough to be a great cellist," said le Roux. "I couldn't see myself happy going to concerts performing other composers."
For a year, he struggled with what he should do. And then had an epiphany. Rather than perform Bach and Beethoven, he could create his own compositions ù free-wheeling creations, stream-of-consciousness music that chose feeling over structure. He dubbed it "spontaneous music."
"I didn't understand what I was getting into," said le Roux who is known as the Ha!Man and will perform as part of Proctors' Dangerous Music series. "I drew me in and then I realized how difficult it was. There was no audience for this because no one knew what it is."
Working alone
So, first, a definition of what has been described as "un-classifiable." Ha!Man, so named for his "a-ha" moment, is essentially a one-man band. Sometimes, he'll be joined by a pianist, but not this time. Instead, he'll be backed up for two songs by two middle school choruses ù Oneida and Doyle schools from Schenectady and Troy respectively.
But for most of Friday's show, the native of South Africa will be alone onstage, slipping between his cello and a piano. He'll also have a computer keyboard at his fingers so that he can layer his sound with some of his pre-recorded music. The pool of tracks enhance his cello or piano, lending them a fully orchestrated sound. And that sound swings from classical, to pop, to African.
"It's a broad frame," said the 42-year-old composer. "Usually, I don't start out with complexity or have a dramatic beginning. It's more explorative and unassuming. Later, it becomes more emotive, abstract and atmospheric. And it ends with more challenging, experimental direction."
He said the goal is twofold: to let the concert unfold naturally and to unite audience, as both music lovers and human beings. The final song, performed by the children, will be le Roux's "Her Time Has Come." It's an ode to his home continent and is meant to further that feeling of human harmony.
"The nature of the music makes it into a sing-along," said le Roux. "It's a great ending. Everyone will leave inspired and happy."
The song, which music critics have called "a global favorite," does not refer to Africa catching up with the rest of the world. Rather, le Roux said, the message is that the rest of the world is finally catching up with Africa.
"Africa is the birthplace of humanity. When people visit Africa, it feels like coming home. The song plays on the deeper significance of Africa's place on the planet as a base for all of us."
The chorus of children will also sing his "I Do Not Want to Die Until It Is My Time," a tune that explores the perils of global warming.
Of course, prior to the show, le Roux will work with the children. In a workshop, he'll try to steer the singers away from precise execution to a more free, expressive approach to the songs.
That's hard, he admits, as musicians, both instrumental and vocal, are trained to perform with exactitude.
He'll also invite members of the audience to come and play with him onstage. He finds that musicians tend to be more rigid in their approach. The untrained go with the flow, expressly what le Roux relishes.
Improvising has always been his delight. At age 4, he sat at the piano and instantaneously created songs for his family and their friends. At school, he took up piano and cello formally. And by the time he was 10, he was appointed as his church's organist. He held the post until he was 21.
At Stellenbosch University, he studied theology and philosophy. After earning his bachelor's degree with honors, he continued his study, working toward a degree in music at the University of South Africa. Then in 1992, he arrived at his turning point.
For the next six years, he hitchhiked between Cape Town and Johannesburg, playing on the streets. In each town, he furthered his experimentation making music on the spot, sometimes without instruments. For extra income, he sold his poems and drawings. He found a wider audience in 2000 when he began to balance his spontaneous music with computer-generated sound.
"It made the whole thing more viable," said le Roux. "But personally, it was a bigger challenge."
Gaining acceptance
Ultimately, he said, audiences started to discern the broader value of his music. His appearances were in demand at workshops and concerts, which he says were meant to "take audiences to another level beyond impressing with technique." And he has since been named one of South Africa's most talented performers.
Though he now travels the world with his unique style, he would like to see musical liberation everywhere. Yet he realizes that for most musicians, a career in improvisation is not viable, at least not in commercial music.
"The road and structure exists, but it is not easy."
Still, he's glad he took the road less traveled.
Wendy Liberatore, Gazette Reporter, Schenectady, NY, 20 November 2008