Youssef Hbeisch, l’énergie

Youssef accompagne Ahmad sur de nombreuses scènes. Né en Galilée, il l’a rencontré au Conservatoire national de Musique Edward Saïd de Jérusalem-Est. Il a aussi longtemps enseigné au conservatoire de Beit Al Musica (Shefa Amr, Galilée) ou animé des master class et des ateliers de percussions en artthérapie. Il vit maintenant à Paris, mais ses collaborations multiples l’amènent à voyager dans le monde entier.
Il a composé pour le théâtre et le cinéma, a accompagné Karloma, l’Oriental Music Ensemble, Simon Shaheen, Süleyman Erguner, Aka Moon, Issa Hassan, Khaled, Lena Chamamyan, Dorsaf Hamdani, Ibrahim Maalouf, Soeur Marie Keyrouz, Lo Cor de la Plana et Manu Théron, Rula Safar, Bratsch, Abed Azrié, le Projet Khoury, Philippe El Hage... Il constitue également le quatrième pilier du Trio Joubran. À chaque concert, les spectateurs sont stupéfaits par sa dextérité non dénuée d’opiniâtreté et contaminés par l’énorme plaisir qui se dégage de son improvisation. À chaque projet, Ahmad est émerveillé par la soif de musique et d’expérimentation d’un complice dont la créativité nourrit son inspiration. Musicien de l’instinct, Youssef Hbeisch trouve immédiatement sa place dans n’importe quel morceau puis y imprime sa marque durant l’étape collective de la création. Cette marque, construite au gré des trouvailles depuis qu’il est tout jeune, est constituée d’influences latines, indiennes, africaines, brésiliennes... comme du souvenir de sa mère tamisant le grain. Youssef a développé polyrythmies et polymétries à partir de sa propre culture ; il les enrichit et les embellit grâce à une curiosité toujours en éveil. Dans l’esprit des compositions de Zabad, Youssef a voulu rester sur la notion d’un son traditionnel. Il n’a utilisé que les habituels derboukas, bendir et riqq, y ajoutant quelques cymbales et clochettes pour enrichir la dynamique et l’ambiance. Il garde aussi un phrasé rythmique et des techniques qui marquent sa singularité. Son jeu confère aux compositions une ossature, autant qu’une enveloppe sonore inégalable : le contraste entre les mouvements secs qu’il imprime au riqq et les gémissements tirés du bendir serre la gorge des auditeurs les plus cérébraux.

Youssef Hbeisch: energy

Youssef is often to be found performing at Ahmad’s side. Born in Galilee, he met Ahmad at the Edward Said National Conservatory of Music in East Jerusalem. For ten years, he also taught at the Beit Almusica Conservatory in Shefa’amr, Galilee, where he ran master classes and percussion therapy workshops. He now lives in Paris, but his numerous collaborations have taken him all over the world. He has composed for the theatre and the cinema and has accompanied the likes of Karloma, the Oriental Music Ensemble, Simon Shaheen, Süleyman Erguner, Aka Moon, Issa Hassan, Khaled, Lena Chamamyan, Dorsaf Hamdani, Ibrahim Maalouf, Sister Marie Keyrouz, Lo Còr de la Plana and Manu Théron, Rula Safar, Bratsch, Abed Azrié, the Khoury Project and Philippe El Hage. He is also the fourth pillar of Le Trio Joubran.
At every concert, the audience are blown away by his tenacious dexterity, and the enormous pleasure radiating from his improvisation is infectious. With each project, Ahmad continues to be in awe of the thirst for music and experimentation of his fellow musician, whose creativity nourishes his inspiration. An instinctive musician, Youssef Hbeisch can immediately find his way around any piece of music, stamping his personal mark during the collective stage of its creation. This mark, forged from the discoveries made along the way since his earliest childhood, is composed of many influences, Latin, Indian, African, Brazilian . . as well as more personal memories, such as his mother sieving grain. Youssef has drawn on his own culture to develop polyrhythms and polymetres which he has enriched and embellished by virtue of his ever lively curiosity. In keeping with the compositional spirit of Zabad, Youssef wanted to preserve the idea of a traditional sound. Making use only of the customary darbuka, bendir and riqq, he has added some cymbals and bells to enhance the vibrancy and mood. He has also retained a rhythmic expression and a range of techniques which define his distinctive style. His playing provides the compositions with a framework as well as a sublime sheath of sound: the contrast between the sharp movements he stamps out on the riqq and the laments he draws from the bendir will bring a lump to the throat of the most cerebral amongst us.