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Bass player François Rabbath, born in 1931 in Aleppo, is a real character in the world of music. He settled in Paris in 1955, where he played with the stars (Barbara, Aznavour') while continuing as a classical instrumentalist. Throughout the four preceding volumes, Rabbath's Nouvelle technique de la contrebasse, presented in a four-language version (French,English, German and Spanish), endeavours to free the pupil from the shackles of traditional teaching. Always guided by the same conviction - that there is no need to torture one's body to become an instrumentalist - Rabbath rounds off his educational epic with this fifth book,which will offer great musical pleasure to the trainee bass player, who can take pride in having overcome the technical difficulties covered in the first four books. This collection includes real concert pieces - works of great charm, such as the nostalgic Cri de Venise for double bass and piano and the Troisième Concerto with its enveloping lyricism, as well as short pieces such as Souviens-tu des douze peupliers and the irresistible Mama Bahija for bass, drum and organ.
SKU: HL.48186481
UPC: 888680828264. 9.0x12.0x0.065 inches.
Francois Rabbath : Trombes d?eau for double bass (AL 30 748) The international fame of bass player Francois Rabbath acknowledges both the untiring teacher, author of a Nouvelle technique de la contrebasse, which a whole generation of students, desirous of freeing themselves from the fetters of traditional teaching, has taken up, and the inspired soloist, unsparing of himself in concert. For several years now, he has become accustomed to spending a few days in the summer in Kansas City (Missouri) to give master classes and a concert there, in the framework of the ?KC BassFest?. In July 2016, a moving surprise awaited him: on the stage of the American Jazz Museum a full-length portrait was unveiled, painted by local artist Ruthie Ingram from photos taken during his recital the previous year. By way of thanks, Rabbath dedicated Trombes d?eau to her, a solo piece lasting approximately six minutes, composed at the instigation of the International Society of Bassists for the 2017 edition of the International Double Bass Competition. Conceived as a series of short variations on an impassioned theme, the work emphasises evocative glissandi and explores double stopping and artificial harmonics without ever sacrificing the essential: the pleasure of musical expression..
