House Programme - Hong Kong Arts Festival

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ࠗ
ಋᖚ୺
ຝ̯ܰ
Δʥԓʪਂ
‫ ؿ‬ʼ ʝ ଞ
ԑe‫ס‬ಳም
ɃɍɊɍ՚
αc˚ፒዀ
T
he Hong Kong Arts Festival is a prominent
arts event in the cultural calendar of Hong
Kong and the Asia Pacific region. Proudly
stepping into its 33rd year, the Festival
continues its vigorous pursuit of innovative
development; the presentation of new works
and the provision of quality arts.
࿚ᆅʘুұ௚ณcɺᒾ˞၀‫ٻ‬೸
࠷‫ؿ‬ຝ͌ȹณᜮଠϦ͌e
ʌαᖚ୺ຝʑࢀҡᔔఒΛۜcஃ
ᅡɾɣዃαӢӮc‫ࣵݯ‬ʑ̔΃Ρ
੓Ԟਝ჌Ίࡼၤ̯Δ၀ߜᐰϳᖚ
࠭Ͳ‫ؿ‬൚ɓ࿫ˮc๫ผ˥ࠗಋ஛
ਝ჌ʼʝ஭ผࠛ૚ቤɈe
In terms of the number and diversity of
programmes, the 2005 Festival is one of the
largest festivals to date, offering a wide variety
of inspiring art, music and cultural
programmes by prestigious international
artists and leading local talents. I am sure that
the Festival will further enhance Hong Kong’s
status as an international cultural metropolis.
ᔑϊᚭ‫ٴ‬ΈϽᖚ୺ࡼ਄ၤܰωଞ
ผcԎूࣵʑ̔ᜮଠʶ̈́‫఻؀‬d
သጙϤᓊe
I extend our warmest welcome to all
participating artists and wish all local and
overseas members of the audience a most
enjoyable time.
ࠗಋऋПϷ‫ਂܧ‬Ϸ‫ٽܧ‬ւ
TUNG Chee Hwa
Chief Executive
Hong Kong Special Administrative Region
˚࢐ᘆᖽ
Message from the Chairman
਄ၤ଱ɍɊɍ։ࠗಋᖚ୺
ᚭ ‫ٴ‬ຝc஛ܰࠗಋʼʝ‫ވ‬ʥԓʪΔ
ਂ‫߬ࠇؿ‬ʼʝଞԑcමၙਝ჌՗ԓʪ
ਂᖚ୺၀ߜc˞ʥ̯Δ௚෮‫ؿึݗ‬ᖚ
୺ɮАّe
̯Ɂটʶ෰ᑢ஦༦੖ᅥʥʼʝԑ৻ອ
༅Х҈ࠨ‫ࠗؿ‬ಋ‫֚ܧ‬c˞ʥࠗಋᑩ৛
ผ෯ഁ‫ڌ‬পਥ‫ټ‬ԭɣ˚߬༅Хዀ࿚c
ˢࠨΛαԞྦྷࠗಋᖚ୺ຝ‫ྐྵؿ‬షʻ
‫ܛ‬c҈ࠨ૯ߎᑢ҃e
ϊ̔cࠗಋᖚ୺ຝྦྷֺτᖳХዀ࿚d
ᖚ୺྆᛽˞ʥ࠯Ɂ༅Хc͛ߎ˞টʶ
ᑢ෮e
ȹΣ˞֡cࠗಋᖚ୺ຝ஦༦˸ძነ́
଩᎚య˞ʥ—‫ڇ‬ʭαɾʤ˜ི߮cߎɈ
ར᎞ነ́ʥαႦᜮଠઅᘩΈᗘᖚ୺e
ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥ࠯Ɂ༅
Хcɻነʥɣነነ́ɖʦᎶᆅईe
2005α ࠗ ಋ ᖚ ୺ ຝ ຝ ͌ ᔔ ఒ d ˳ ᖓ
ຒτc‫ٴ‬΋ɺ΃ᜮଠ‫ؿ‬௩ΡʥɟՈc
Ϣ̢‫ڻ‬փe
ʹω෰ᑢჇɎ‫ؿ‬ʻ‫ܛ‬c౨શၤ੬Ε
2005αࠗಋᖚ୺ຝɻӮࠍe
I
warmly welcome you to the 33rd Arts Festival.
As a premier event in the Hong Kong cultural
calendar as well as the Asia Pacific region, the
Festival presents the finest international and
regional artists in an intense series of concerts and
performances, as well as showcases the creativity
of artistic talent in Hong Kong.
Appreciation and thanks are due to our main
subventing organisations – the Hong Kong
Government, through the Leisure and Cultural
Services Department, and the Hong Kong Jockey
Club Charities Trust. Their long and continued
patronage are what make these cultural
presentations possible.
In addition, we gratefully acknowledge the
generous support of many corporate sponsors,
arts institutions and individuals.
The Festival has always made our programmes
accessible to students and young audiences
through half-price student tickets and our Young
Friends Scheme. These schemes are funded by the
generous donations from numerous corporate
and individual donors.
The 2005 Festival offers a rich and stimulating
programme, with a variety of captivating
performances and choices, presenting a diverse range
of tastes with artistic excellence. We hope to offer
something enjoyable and of interest to everyone.
Above all, I would like to thank you, our patrons, for
your support and participation in the 2005 Festival.
ңพᄤ
Charles Lee
ࠗಋᖚ୺ຝ‫ؿ‬༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of:
Ϸ‫ܧ‬ᐢဟᘆᖽ
Message from the Executive Director
2
005α ࠗ ಋ ᖚ ୺ ຝ ‫ ؿ‬ຝ ͌ ˞
— ु ັ ၤ ˖ ‫ ˚ ݯ˜ ڙ‬ᕀ e ु
ັd˖‫ڙ‬஛ԭඖʏॖc஭ܰΈိ
ᖚ୺Ѽβ‫ؿ‬੒Ӯᕀҥၤ᜙෰‫ݖ‬
฻cʌ։ຝ͌గऋПॶਪʦ‫ܮ‬஛
࠯෮֨e҈ࠨѴશ஛ԭඖ‫ޚܫ‬ᗐ
Ɍྦྷ͓‫ؿ‬ʏॖcॶ‫ݯ‬ɣࡼొԜҡ
৽Ɂdҡᗒѿ‫ؿ‬ᜮሌ᛽᛻e
৖ȿࣵ̔ᖚ୺ɮАّc҈ࠨ‫۾‬࿘
֗ॶᑼᇼ̯Δ࿫ᖚ၀ߜcΣࠗಋ
ဳ֞ᅥ྆dࠗಋ໷ჱ྆d̯Δ௑
ˮαႦ፡ೄ࿫ۗࡼਜ਼ᆼ౟d૜ࠓ
Ⴛဳʄࠇۗᘆᖚeԯˢ਄ၤ࿫ˮ
‫̯ؿ‬Δ࿫ᖚ၀ߜ˳‫ܢ‬ຣჱΊД૆
ு໱ʥң᎘d7AऒᎻჱୂdɻߜ
ჱ ྆ d 89268d ‫ ټ ܖ‬ɩ մ d ࠗ ಋ
ᇁၦࡼฦ‫ܬ‬ϐcᑹτ΋Ɉ‫ݵ‬ႇ
ؒл‫ྡྷؿ‬Ɉ‫ୂݢ‬΋
ңᔪ
‫ݘ‬dષഥࠦdңɻͲʥ୥૆֍e
ᖚ୺ຝᘗᙩዶรկ޸̯Δၤࣵ̔
ˮϳ‫ؿ‬௚АɁc̯։ณА˳‫ܢ‬
ು‫ރ‬dէᚗdʌէ࿨ၦ‫ק‬
̡d‫ټܖ‬ਝ჌࠭ᅥ஫dཫ҈
஛ᅚ‫ؿ‬ȹ࠯‫̟ے‬dؒлd‫׭‬
˚τ௩ʥɩ˔ɥనʊতe
2005αࠗಋᖚ୺ຝ‫ݯ‬ᜮଠᘆɐȹ
ϛɀɊ̒௿࿫ˮc਄ၤ‫ٲ‬࿫྆᛽
༠ ̒ Ɋ ɀ ࠯˳ ‫ ܢ‬ɍ Ɋ ɀ ࠯ ࣵ ̔
ʥ Ɋ ࠯ ̯ Δ ྆ ᛽€c ᑹ τ ԭ ࠯ ࢄ
ᙴc˞ʥɺࢀ፟༦‫ؿ‬ᖚ୺ຝ˱ࢿ
ຝ͌iᑟ࢔d࢔ᇹผʥᖚɁᇹe
T
he starting point for the programming of this 2005
Festival was the idea of contrasting opposites – ‘sacred
and profane’. Both of these elements are rich sources of
creative impulses for the performing arts in most cultures
and this thematic link is evident in much of our
programming. We hope these connections and contrasts
will make your Festival experience more engaging and
memorable.
Alongside all of our international artists, we are proud to
present many outstanding Hong Kong artists. For example,
the Hong Kong Philharmonic Orchestra and the Hong
Kong Repertory Theatre, as well as the fine young Hong
Kong musicians, pianist Rachel Cheung and the Fresh Air
Brass Quintet. Other important Hong Kong artists taking
part include Cantonese opera stars Mui Suet-see and Lee
Lung; Class 7A Drama Group; Chung Ying Theatre; Group
89268; the Material Girls; choreographer Daniel Yeung
and the remarkable combined talents of Lee Chun-chow,
Faye Leong, Gabriel Lee and Chong Mui-ngam in The
French Kiss.
In addition, our commitment to commissioning new work
from Hong Kong and around the world continues, with
pieces such as Amber, The Nightingale, All That Shanghai
Jazz, Material Girls, i-City, The French Kiss, Come Out &
Play and Little Prince Hamlet.
The 2005 Festival will offer a total of 124 performances
with 42 performing groups (32 overseas and 10 local), two
exhibitions and our Festival Plus programme of talks,
seminars and meet-the-artist sessions.
̯։ຝ͌Λ‫ٻ‬ΛۜcࠓࣟΛʏ
ʝcܰࠗಋዃԞஃᅡ௖ɣd௖˥
Ɂሌʶࢧ͌d௖Ԯઢೕֲ‫ؿ‬ᖚ୺
ຝɾȹc෰ᑢჇɎ‫ي׊‬਄ၤe
This is one of our largest Festivals to date, in terms of the
number and the diversity of programmes. I am sure too,
that it will be one of our most enjoyable and inspiring. We
are delighted that you could join us.
ঢ়ᄨᓤ
Douglas Gautier
5
ຝ͌‫޸ٽ‬1 ɩࣂ30ʗᘸc
ɺஉɻ௿ͤࢠ
Running time:
approximately 1 hour and 30 minutes
with no interval
ࠗಋʼʝɻʶࠑᅥᜨ
Concert Hall,
Hong Kong Cultural Centre
10 – 11.3.2005
‫ݯ‬ȿᜑɣࡼྦྷ஛ω࿫ˮजɎ޻ΡͿോcᇼʘতΕຝ͌඀௿‫ک‬ᗐઌʹ፜dಲᇃཋ໷ʥඨՓዀ‫ؿ‬ᚊባ໦
ສeผ௿ʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕ՗мํcΛᑢ΋Аk
To make this performance a pleasant experience for the artists and other members of the audience, PLEASE
switch off your ALARM WATCHES, MOBILE PHONES and PAGERS.
Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the
auditorium. Thank you for your cooperation.
ʄࠇۗιࡗQuintet Members
© Giorgio Scola
ɩొೄ
୧༆࡭ g ˺ऋ
Violin
Regina Carter
፡ೄ
‫ ࣍ځ‬g ԓʩժ
Piano
Alon Yavnai
࿍Ꮎ
ᑺဍּ g ˺ҳԈ౜
Percussion
Mayra Casales
ར
‫ځ‬ဍ̥౜ऋ g ˱ढ़ऋ
Drums
Alvester Garnett
Гࠑɣొೄ
КԈ౜ g ഠऋ˺ౝ
Bass
Chris Lightcap
10.3.2005̒Thur€
࿫‫܃‬ᖚɁᇹ Meet-the-Artist (Post-Performance)
ᚭ‫ٴ‬ᜮଠ࿫ˮ‫܃‬जүcၤ୧༆࡭ g ˺ऋӮࠍ
If you would like to meet Regina Carter, please stay behind in the auditorium after
the performance
̯ຝ͌ࠑᚊኂҥͅ஝СೄϷᖳХ
The audio equipment is sponsored by
۬ࠍʥ଱ 5ࠒ๑ː Cover and page 5 photographs © Giorgio Scola
7
10
ਿ஄Interview
© Bill Phelps
ၤ୧༆࡭ g˺ऋ‫ؿ‬ȹ࢐໷
i݅ଉɡ g ৛̈́
i୧༆࡭ g ˺ऋ
Б௖‫܃‬ȹω࿫ۗ‫—ီڙ‬ɣऻ˜‫ؿ‬Ίೄ˺ऋ౦‫כ‬ᆅԅԓ࿫̛̛ۗ֔ࣟजɎ‫ؿ‬1743αྠ
ʑԈɩొೄ€cϭʌɰτȹ‫ࣂݒ‬ංcБᕤ֨ලj
Ӏτeܰ̚‫ؿ޻۾‬ᅥኂcЎɖ‫۾‬ᗒᄦۗeߗॶ٦ɐడ࠯˂˾ᆃୌ̚c҈ֶผ‫۾‬ᕤ
֨cЎ҈Ӏτ஛࠯ዀผeʹّcᄦۗϊೄ߬૾ࣹ‫۾‬Λ‫؝ܧ‬ΐॖcԅԒ҈ҡɺᕤ֨e
Б‫ࡼؿ‬൰֛ऋ‫܁‬ଞଐടΊࠑᅥɁcΣӴແ g ˺ऋdϝဍऋ g ዶႫd̛ٛ g В৺ဍd
ᕽ౜˩Ѻdʮ෌ʩ g ּແʩdࡌढ़fВᄨdಝϝ g ּ̥ढ़࣓ʥʣဍ g Кያ೩cБ΃
෮֛ऋ‫܁‬஛Δʿॶ਩өዟऋ‫ࠑؿ‬ᅥɁලj
҈΃෮eτԒ‫̟ے‬ଞଐዟԮࠓࣟ‫ࠑؿ‬ᅥࡼcཫ֛ऋ‫܁‬ʥ൒‫ے‬e֛ऋ‫࠯ܰ܁‬ʑ஺‫ے‬
̟cɁࠨԞϬ̒ʿɄࠍc‫ؿݯ‬ɺܰӁӹɮพc‫ࠑܰڏ‬ᅥႇАcПѿতᄾ‫ے‬਎ːʔ̇
ɖΕϊe˿˞႓c֛ऋ‫܁‬මၙȿɺ΃ʼʝdࠑᅥʏॖcʥΈʿࠍ‫ؿ‬ᄧᚊe
Σʌ҈˞ख़޸‫ݯ‬ਥΔe஛㛾˨࿶ॶ൴cᜑ҈ȹᘨፚԞ෦‫ڰ‬ɊӷeϤ஛̳ܰ҈჏߬‫ؿ‬e
Бּۗɩొೄȼαɷ඀նነୌᚾᖪcྦྷ‫כ‬ɩొೄࡼԞ႓஛Ԏɺ੒Ӯe
҈Ϣ࢑ઔ͂༻˃ઠነؒcЎɺผԗ࣊‫ق‬႓e΢ೕଊ҈ᚹɈ‫۾‬Ρc҈෱c΢෱ᜑ҈Ϭͅೕ
ࢄe΢ɖ౦Ґᅥᖪ‫י‬Ε҈ࠍ‫ک‬cЎ҈஝੒ɺ͂ᚾᖪɖ‫ك‬༞ࠑᅥ‫܉‬ᅚӶcϬಳᎷ੡ᄦۗe
ਿ஄Interview
11
Б੒ᚹ໊਩ଉ‫ؿ‬࿫ۗලj
ɺc҈̋‫؀‬ሌ༦ȹԭωˢ‫ؿ‬ଊ௿࿫ۗe႓Ԟ྽෼cΐ‫҈ݯ‬ʪࡻୈc‫ܨ‬ɺౘ།ˢ‫ق‬અ
͚ᇹeԅࣂ҈‫ޅ‬ʭᚹᏲɡᅥcᚹ‫ؿ‬ɩొೄᏲɡᅥగ̋τˢdֆያ౜ gᕡແʥጻࡥဍ g
ؐΐऋe
੣ԑ࿫ۗᏲɡᅥ‫܃‬cБ˚߬ᚹɩొೄА‫ۂ‬cᑹܰԯˢᅥኂ‫ؿ‬А‫ۂ‬jሂ‫ؿ‬А‫ۂ‬௖ॶ
̨৽Бj
Ᏺɡᅥɣ‫پ‬ȹ̨̭඀cБ჏߬ͱਐϬɯi—Ε࡚㛾ነᏲɡᅥj˜ԯফᆻɺཫ̀԰ࠑ
ᅥcӀτϢ࢑ઠБ͂ʇფʿؒcɖӀτɃ‫پ‬ʨ࣊c̋ॶቌϬɯҒˮ༏e‫ܫ‬ಳͨЄආ
‫ݒ‬஭˿඀նc҈‫ͱڏ‬੣਎ːˮೕe
҈࣎‫ؿ‬ᅥඅઠ࢑౦ᜑ҈࿫ۗؒਝ໔‫ؿ‬஫ͫc‫ܰכ‬ኬኬȹαc҈̋ᚹ݅С g ֔К‫ࠑؿ‬
ᅥcԎᅡ͝ˢ‫ؿ‬ዟۗcᒖಳ҈๫ࣂɺᎷԅᛰʝຒɝ‫ؿ‬՗֞e‫܃‬Ԟc҈અᘩԷКСါ
ᄨ g̠࣍dႝ g ࠏВ౜ऋdКּК g ऋԈ‫ࠑؿ‬ᅥcೕଊ̀Ϣ‫ࠑؿ‬ϳ༖мʵ҈e།㠥ܰ
࿨ʹc҈ᒉੱ‫ ּࡥכ‬g ഥও‫ּ׵‬ᄨe
།፡ೄɣ࢑̛ٛ g ʱ࠷፣ႇFreefallɀࠇۗࣂτЯшᗒj
།̛ٛ g ʱ࠷஛Ͻࠑᅥɣ࢑΋АcࠧܰႦᕌࢀ‫מ‬e஝੒஛ိɀࠇۗ஭ܰ፡ೄͱԞዟ
ۗcಳ‫܃‬৤ɎԞᜑ҈ዟۗe҈ɺ௩ᚭ஛ᅚc‫͂҈ܰכ‬ɺ΃‫ؿ‬ЂۗʿؒcᜑА‫ۂ‬ҡཫ
ɩొೄၤ፡ೄ‫ྦྷؿ‬໷e
Εફ‫ؿ܁‬୮ଉɐcБ‫ؿ‬࿫ᖐ།ࡈ਎þ࿫ّۗτЯɺ΃j
஛ਐᕀ‫۾‬τመeߗ࿫ۗ࿨ςc҈ผϬಳΔ˞࿨ʹ‫ؿ‬ʿβ୮ଉcࠑሁɐɺผАʪɣҝ
ᛰc΃ࣂ຾ࣵผࣺଊ࿨ീeЎߗܰࠑᅥc҈ผཹ໰ࠇณᇁςc˞৉΋҈‫ؿ‬ᅥኂeτ
ࣂc҈ผၤᅥඅȹ঴ࠇᇁࠑᅥe
ܰЯτԒ̀԰ࠑᅥ‫ؿ‬Ҍ̝჏߬‫י‬ГjБɌॶЯࣂ੒২Էj
ܰ‫ؿ‬cԝΣɶؒʥᛌх೩Ҍ̝eᇾਦɐ҈ྦྷነ́႓i—஛ܰՒ‫گ‬Ᏺɡ‫ࠑؿ‬ሁcɺ˿
͂Ͳɶe˜࿫ۗҕੱςࣂc҈ผ།ˢࠨ႓ྻ͂‫ؿ‬ᛌхԎɺ΋ሬe஛Ͳܰ҈‫ؿ‬຤᛻ɾ
ᇹc҈‫ك‬༞Єࣂ߬ᔝ͂П‫ؿ‬Ҍ̝cɖ‫ܰࠨ͉̚ע‬ɺ΃‫ࠑؿ‬ᅥႍӰeಳϤcʋτԒࠑ
ᅥɁ‫ܨ‬үϬ۬cྦྷܺᗘࠑᅥʶΦৱӮcΐ‫ݯ‬ˢࠨӀؒӶˮ՞τႍӰ՗ʼʝ‫ܼ࣑ؿ‬c
˾‫؀‬ሌПɁ‫ࠑؿ‬ᅥe
12
ਿ஄Interview
A Conversation
with Regina Carter
: Charles Martin
: Regina Carter
It’s been a while since you’ve
played ‘The Cannon’ [Paganini’s
famous 1743 Guarneri violin,
which Regina Carter played in
Genoa]. Do you miss it?
No. It’s a beautiful instrument, but
it’s a difficult instrument too. If I’d
had the opportunity to spend a
couple of months playing it, I
might miss it now, but I never had
the chance to get used to the
violin. Plus, there were a lot of
politics involved, and I don’t miss
that either.
© Bill Phelps
The list of musicians from your home town of Detroit is long and impressive: Betty
Carter, Milt Jackson, Kenny Burrell, Thad and Hank Jones, Yusef Lateef, Donald
Byrd, Tommy Flanagan, and Earl Klugh, among others. Do you think Detroit
produces a different kind of musician?
I do. Some cities seem to produce a lot of musicians, and each of those cities has
its own sound: Detroit, Philadelphia for instance. One reason is that Detroit is really
a city, an inner city. People have relocated there from all over, for both the
automotive industry and the music industry – Motown records was there,
remember? So you have a mixture of cultures, as well as a mix of musical and other
influences.
I’m based in New York now. The energy is great here, which is what I need: waking
up and hearing the hustle-bustle. It makes you get up and do something.
You played for seven years before you learned how to read music. That doesn’t
usually happen with violin.
My teacher was doing the Suzuki method, but not according to the book. She
noticed I had an ear. I think she was so taken by that fact that she let me get away
with it. She did put music in front of me, but I could usually tell which way the piece
was going, and could play without reading.
ਿ஄Interview
13
Did you hear Stephane Grappelli a lot?
No. I heard him once or twice live. Unfortunately, I was too shy to go up and talk
to him. At the time, I hadn’t heard much jazz. Back then my only references for
jazz violin were him, Jean-Luc Ponty and Noel Pointer.
When you developed your jazz approach, did you listen to violinists or other
instrumentalists? Who were you drawn to the most?
When you start jazz you need to ask, “How do I learn this music?” It’s not like
classical, where your teacher tells you which method you’ll use. You have to find
the road yourself: there’s no Book 1, 2 and 3. You can come in at any period. So I
checked out records.
My big band teacher in college gave me horn parts to play. For a year, I listened
just to Charlie Parker and transcribed his solos, though at the time I didn’t
understand the chord changes underneath them. Eventually I checked out Clifford
Brown, Ben Webster and Clark Terry. I was drawn more to the older kind of sounds.
Then came vocalists. I’m heavily into Ella.
How difficult was it to pull off the piano-violin duo with Kenny Barron on the
recording Freefall?
With Kenny Barron, it was easy to do – he’s such a master. A lot of times, the piano
will just play a solo and then stand there while I play. I didn’t want that, so I tried
different kinds of comping (accompanying), and made the pieces more like
conversations between the two instruments.
Do you feel your approach to a tune is different from what’s gone before?
Funny, if I take a tune from a vocalist, I kind of do it the way they do it. I don’t veer
off too much. I’m thinking of the words to the song. But if I’m doing an
instrumental, I try and come up with a new arrangement, something that fits my
instrument. Sometimes the band and I come up with the arrangement together.
Are there times when you have to disregard classical technique, or can you
always make it work?
Yes, things like bowing and vibrato. At a master class, I’ll tell a student, “This is a
bebop tune. You can’t use the full bow”. Or on a ballad, I’ll tell them they can’t
use the same kind of vibrato. That’s when I notice how I’ve had to change my
playing. That’s when I realise that it’s a different language. There are still some
people, musicians included, who have prejudices about all kinds of music, because
they’ve never stepped outside the boundaries of their own language, their own
culture.
16
̡́ʍଽBiographies
୧༆࡭ g˺ऋ
ɩొೄ
୧༆࡭ g ˺ऋ‫ࠑؿ‬ᅥԑพȹίࠓ඗cѽΣȹ࠯࿺ੜࠑଲe΢͓ҁ˞ዟऋ‫ࠑؿ‬ᅥʿβ
঳ᘆᅥኋcንᔄԯಲᆯɈ൴c੣ɺͤ˅Δ̒ˮԀি࿫ۗe
2001α12˂c΢ι‫ࠖݯ‬Ͻ޻ᔄ‫ݘڈ‬໢ᏲɡᅥʹcᏵፕ߳෮ɣСᆅԅԓc࿫̛ۗ֔ࣟ
̛जɎ‫ྠؿ‬ʑԈɩొೄeɺʥȹαc΢߳෮ɣСᙠ፣ณ‫̀ؿ‬԰ࠑᅥਿፎPaganini:
After a Dreamࣂʹωּۗϊೄc‫ࠑݯ‬ᅥԑพ͓ɎԈೡຌe
ᐣಳ๫Ђֶۗ˞ነ́Ӹͫ།ɣ࢑΋ۗ೸‫˺ڈ‬ऋ‫ؿ‬οመcЎಲ˿Яႏc஛ܰ΢ι˲‫ؿ‬
ࠇ߬ΐॖe˺ऋɐ༦͠ऋʺК g ‫ރ‬ဍਅ՗ਅ̗শ‫ؿ‬ɩొೄɣ࢑ऒh‫ࡼܰܫ‬൰֛ऋ‫܁‬
͚ᚊᅥ྆྆ࡗcɖܰ‫ݚ‬Ϸୂ΋຾ቊᏽ‫ؿ‬ιࡗe஛‫ݯ‬΢ొԜȿΈᗘ࿫ˮ‫ؿ‬ዀผcΣͱ
‫܃‬།Ᏺɡᅥʹཊ g ̠࣍dˈС g ࣮৺dန୧Ϊ g ோ݇ऋᙬᄨd፡ೄ࢑̛ٛ g ʱ࠷dౝ
С೪ᆉ੡˚ใན g৛෌ּ౜dᙬ߻ gࠏ౜ནʥ˺ࣚᄨּ gۤဍႫ΋ۗcԎ˘౦།‫ݚ‬Ϸ
ᅥ৫ཫ࣠୧ g ʱནʥˈС g ीԫ΃௿࿫ˮe
2002/03ᅥտc˺ऋʥԯʄࠇۗιࡗͱ‫܃‬།ԓऋᙬɣ͚ᚊᅥ྆d਽ဍӂਥ͚ᚊᅥ
྆d‫̛ע‬ᘣ༠ဳ֞ᅥ྆೩΋Аe˺ऋʥԯʄࠇۗ౦Εȹ࠯ؐɡན‫ݚ‬Ϸࠑᅥ‫ؿ‬ऋௐຝ
͌ɻ‫ޚڋ‬cҡၤԭϽ˖‫ވ‬ज़ɩొೄʹढ़‫ ׵‬gᔁ৺‫ ݤ‬g ॗ‫ڲ‬Вࣟʥϴᇘ gϴ̥౜cȹ঴
ࠖ࿫КԈ౜ g ̠ቧӴКᎼʩ g ̠ቧӴКɾɥ€ऋП‫ݯ‬ˢࠨ௚А‫ؿ‬Interplaye
˺ऋኞ‫ٽ‬Щ࢐࿫ۗcЎԯ፣ࠑА‫΃͛ۂ‬ᅚ᎚Ӟe౦།΢΋А‫ؿ‬ടΊࠑᅥɁ˳‫֔ܢ‬
ແ g ּӴဍd‫ځ‬ཊᔁ g ؒКடdနᗫ g ̠ഠ΁d௜Ԉ g Ѵဍd࿨਎ࡼ˺ࣚᄨּ g ۤဍ
ႫdГࠑɣ௬̐ʹ̌ొʩ gऋԈd፡ೄ࢑̛ٛ gʱ࠷ʥɽ̛༏ g ԣཊ౜d೶ˢʹᖓᄨ
̛ g ᕽ౜dϳɡࠓʹ˻ɡ g ˺ऋdߜ߻ʷ̒ࠇۗdख़޸֞ᅥɍࠇۗ೩e
˺ऋ‫ࠑؿ‬ᅥ૦฻‫ޅ‬ᄤc੣ຝۗ‫܊‬ςd‫Ϳ׭‬۹ࠑᅥcԷ̀԰ࠑᅥe΢ͱ‫܃‬ΕԔᙷਝ჌
‫ؿ‬ख़ߜ࠷ࠑᅥነ৑ʥ਽ะ࣓ᖓྵ౜ऋ‫ؿ‬ෙКᙬɣነc˚࠳̀԰ࠑᅥʥ޻β‫ࠑݘڈ‬
ᅥcԎᏵෙКᙬɣነཕೕࠑᅥ‫ٲ‬࿫‫ؿ‬ʼነɡነϽe
˺ ऋ ͳ τ ʄ ਜ਼ ࠯ Ɂ ਎ ː c ˳ ‫ܢ‬୧ ༆ ࡭ g ˺ ऋ
1995€dSomething for Grace
1997€ʥRhythms of the Heart
1998€e2000α9˂ೕϷ‫ؿ‬଱̒ਜ਼਎ːc̳ܰऋП
Ή֛ऋ‫ࠑ܁‬ᅥɁߎฑ‫ؿ‬Motor City Momentse̊̔c΢།፡ೄ࢑̛ٛ g ʱ࠷΋ۗ‫ؿ‬
Freefallc ‫ כ‬2001α ‫ ܬ‬ʨ ࠍ ˖ c Ԏ ‫ כ‬୊ α 2˂ Ᏽ ੡ ࣟ ‫ ޻ ׳‬ᆉ ొ Ί e ௖ ณ ɣ ဥ
Paganini: After a Dream‫כڬ‬2003α4˂ઐˮe
ᘗᙩ‫ٲ‬ଊˮΛʏࠑᅥࠓࣟ‫˺ؿ‬ऋcɰι‫ݯ‬ʌʨଊˤᅥኋτᅕ௖‫˿ʹت‬ᆅ‫ؿ‬αႦɩొ
ೄࡼe
̡́ʍଽBiographies
17
Regina Carter
Violin
Regina Carter’s career has been a veritable crescendo of success that shows no sign
of letting up. She is on a mission: to make a meaningful musical contribution and
do it on her own terms. Indeed, she tours with relentless purpose and a seemingly
endless supply of energy.
In December 2001, Regina Carter travelled to Genoa, Italy and became the first
jazz musician and first African-American to play the legendary Guarneri del Gesu
‘Cannon’ violin, owned by classical music virtuoso and composer Nicolo Paganini.
Less than a year later, Carter returned to Genoa to accomplish another milestone
– using the treasured violin to record her new classical-infused album Paganini:
After a Dream.
Regina Carter’s recent triumphs by no means came without paying her dues as a
side person and a student. Carter’s master classes with violin giants, Itzak Perlman
and Yehudi Menuhin, as well as her association as a member of the Detroit Civic
Symphony Orchestra and with the pop-funk group, Brainstorm, provided the
needed experience to play with a range of artists. Carter has had the opportunity
to perform, with such jazz luminaries as Ray Brown, Dr Billy Taylor, Marian
McPartland, Kenny Barron, Wynton Marsalis, Randy Weston and Cassandra
Wilson. She has also performed with ‘pop’ icons Dolly Parton and Billy Joel.
̡́ʍଽBiographies
19
During the 2002/03 season, Regina Carter and her touring band began performing
with numerous orchestras including, the Atlanta Symphony, the Milwaukee
Symphony and the Minnesota Orchestra. Carter and her band have also performed
a special engagement with the Boston Pops, featuring classical virtuosos, Nadja
Salerno Sonnenberg and Eileen Ivers. Together, the three violinists debuted a song
written especially for them, by Chris Brubeck (Dave Brubeck’s son), entitled,
Interplay.
Just as prolific as her accomplishments on stage are Carter’s performances on
record. Included in her discography, along with recordings with Patti Labelle,
Aretha Franklin, Mary J Blige and Lauryn Hill are recordings with vocalists,
Cassandra Wilson and Carmen Lundy; trombonist Steve Turre; pianists Kenny
Barron and Danilo Perez; guitarist Rodney Jones; saxophonist James Carter; Quartet
Indigo, led by cellist, Akua Dixon and the String Trio of New York.
Carter’s musical influences have ranged from R&B to East Indian to classical music.
As a college student, she took on a double major in classical music and AfricanAmerican music at both the prestigious New England Conservatory and Oakland
University in Rochester, Michigan, where she earned a Bachelor of Arts degree in
Performance.
Regina Carter has five discs under her own name: Regina Carter (1995), Something
for Grace (1997) and Rhythms of the Heart (1998). Her fourth CD, Motor City
Moments, was released in September 2000 and is a tribute to the musical legacy
of her hometown of Detroit. Freefall, a collaboration with pianist Kenny Barron,
was released in the spring of 2001 and was nominated for a Grammy Award in
February 2002. Her latest CD, Paganini: After a Dream, was released in April 2003.
Regina Carter continues to reveal a distinctly diverse musical personality. She has
become one of the most popular young violinists in modern music today.
̡́ʍଽBiographies
25
‫ ࣍ځ‬gԓʩժ
፡ೄ
፡ೄࡼ‫ ࣍ځ‬g ԓʩժ́‫˞כ‬ϳͶcଓพ‫˞כ‬ϳͶ΁̿ෑ͠ճࠑᅥነ৑c̒ั঴ነ፡
ೄcɊɍัɰ඀նᓻพ‫ٲ‬࿫eˢ՗Ϭɰ‫ؿ‬ᏲɡᅥɍࠇۗԷ୮࿫ˮc1993αଫֈ޻
ਝcԎΕЃᖓԈ༠ή௑КႫၐဍᐾϷ‫޻ؿ‬ਝ৩ɣᏲɡᅥ፡ೄˈᑩɐᏵ‫߶ڥ‬e
ˢ౦ၤଠΛടΊᖚ୺ࡼȹ঴࿫ˮc˳‫ܢ‬Ѓ๥߻ g ൓ʱᄨdּၐ g ݀ɭdᎏ‫ گ‬g ᄾϹ
౜d༏‫מ‬౜ gࣵ౜dಝճg‫ۄ‬৺ဍd‫྇ځ‬ᖓ g˺̥ᖓdෑ̛ԓ gСВෑᄨdɽ̛ gʷऋ
С̠dෙ౜˺ g ౜ෑढ़ᖓdؐˈ g ͤ՗௶ g ୣཊ‫ݤ‬೩e
ԓʩժܰ֔ۘΛ g ӓ๥ၐּ۩ʑᏲɡᅥɍࠇۗιࡗc໮ᅥඅ࿫ۗΈိࠑᅥc˳‫ּܢ‬
ȻᏲɡᅥ՗̀԰۩ᅥcӷ༌༧ʥ˖‫ވ‬ΈΔc˳‫ܢ‬ജଞན̀া߻ɻʶc˞ʥΕ˺ʑਥ
ࠑᅥᜨɩొೄຝɐၤɣొೄࡼ৛ʤʤ΋ۗe
ԓʩժ౦֡Ϲ‫ڈ‬dɻ޻‫ݘ‬՗ᅩ‫ݘ‬࿫ˮcԎ਄˱Λ࠯Ᏺɡᅥຝc˳‫ܢ‬ቮϹࡐѐѮਝ჌
Ᏺɡᅥຝdؐɡན᏷ଈᏲɡᅥຝ՗ᄨਝʱဍແ˺Ᏺɡᅥຝeˢၤɺ΃ࠑᅥɁ՗਎ː
ʔ̇ᙠ፣Ɋ቗ਜ਼਎ːc2005α1˂՗ˢ‫ؿ‬ᏲɡᅥɍࠇۗΕउּΖ‫׭‬᫢ᐾፒ‫ؿ‬ਝ჌Ᏺ
ɡᅥຝɐೕϷ௖ณਿፎ໰෱e
Alon Yavani
Piano
Israeli-born pianist Alon Yavnai is a graduate of the Gyvataym Conservatory, Israel.
He began playing the piano at age four and started performing professionally at age
13. He toured with his own jazz trio before moving to the US in 1993, where he won
First Place at the Great American Jazz Piano Competition in Jacksonville, Florida.
He has performed with a host of renowned artists, such as Freddie Hubbard, Ravi
Coltrane, Bob Moses, Louis Hayes, Tom Harrell, Arturo ‘Zambo’ Cavero, Tania
Libertad, Danny Gottlieb, Oscar Stagnaro, Bobby Shew and Joe Morello.
Alon Yavnai is a member of the Paquito D’Rivera Chamber Jazz Trio which plays
music from Latin Jazz to Chamber Classical giving performances internationally, as
well as at the Kennedy Center, Washington DC and the Fiddle Fest at Carnegie
Hall with cellist Yo-Yo Ma.
Yavnai has toured in West Africa, Central America and Europe, and has appeared
in the International Jazz Festival in Cancun, Mexico; the Boston Globe Jazz Festival
and the Baltica Jazz Festival in Germany among others. He has recorded over a
dozen albums with various artists and labels, and in January 2005 Yavnai and his
jazz trio released their latest CD titled Picture This at the International Jazz Festival
in Punta Del Este, Uruguay.
̡́ʍଽBiographies
27
ᑺဍּ g˺ҳԈ౜
࿍Ꮎ
ᑺဍּ g ˺ҳԈ౜୽഼‫΃ݯ‬αˤɻ௖Ԯɷജ‫ؿ‬࿍Ꮎᅥʹɾȹe΢́‫̀כ‬ʱࡧᜪࢬc
ࡼɻɍΊ˩Ѻ஭ιȿࠑᅥɁeαႦࣂ΢፭ࡼɁଫֈЃᖓԈ༠ήᑺ‫ځ‬਽c੣ϊࣴ૬Ε
ᔔఒΛ‫ࠑؿٻ‬ᅥʼʝ؅௼ɾɻeɺɔc΢‫ڏ‬τ֗།Ԕᙷਝ჌‫̀ؿ‬ʱʥּȻࠑᅥɁ΋
Аc˳‫ּܢ‬Ȼ࿨΍Ϲ୧ԓ g Кቧ঍d˺‫ݤ‬౜ g ̿ဍᄨ౜d৛թμʥ࣮μ g ౝऋ೩e
1978αc˺ҳԈ౜ᐾࡼଫֈख़޸‫܃‬c΢Ε๫ΔᘗᙩೕࢄࠑᅥԑพcԎ།ΛϽᅥኋඨ
թɁ‫ذ‬΋Аc߮τi߻ღ g ΁ഠ౜͊dࠏ࢟ g ጣऋdཊ g ʱཊμʥഥ୧೻ g ࣵਅe௖
‫ٶ‬c΢ኪͨ୧༆࡭ g˺ऋʥ௶࢟ gያϹΐ‫ؿ‬࿍ᎾᅥʹcɌ‫ݯ‬Λ஫ཋᄧʥཋ഼dཋ̎ᄤ
йАςe
Mayra Casales
Percussion
Mayra Casales is considered to be one of the most versatile and well rounded
percussionist of her generation. Born in Havana, Cuba, Casales has three siblings,
all of whom are musicians. While very young, she moved with her family to Miami,
Florida where she began to immerse herself in the musical culture of that
environment. Before long she was performing with some of the biggest names in
Latino and Cuban music including Celia Cruz, Carlos ‘Patato’ Valdez, Machito and
Tito Puente.
In 1978 Mayra Casales’ family moved to New York where she continued her
musical journey, working with such legendary artists as Dizzy Gillespie, Wayne
Shorter, Ray Barretto and Phyllis Hyman. Currently Casales can be found holding
down percussion duties for both Regina Carter and Jon Lucien, while still
continuing to compose for movie scores, television and radio commercials.
̡́ʍଽBiographies
29
‫ځ‬ဍ̥౜ऋ g˱ढ़ऋ
ར
‫ځ‬ဍ̥౜ऋ g ˱ढ़ऋ́‫כ‬ၐ‫̛ނ‬ԓήͶ‫؝‬ʼc1993αၐ‫̛ނ‬ԓᐲԄɣነᏲɡᅥ‫ޢ‬Ӡ
ӡଓพeΕነ౨ංˢτ֗།ோ౜ g ᖓթdਟ‫ ڀ‬g ჳ‫מ‬౜d༞ࣟ g ଉ݅঍ʥࡥС౜ g ৛
෌ּ౜೩ΛϽɣ࢑ነୌeଓพ‫܃‬ɍ࠯˂cˢଫֈख़޸cԎၤӴແg˺ऋ՗‫ˈځ‬g‫׳‬ٛ
ͳԑe
ԯ‫܃‬c˱ढ़ऋ˱Ƀ‫ ˈځ‬g‫׳‬ٛ̒ࠇۗc΋Аȿ̒αΛcԯංˢɖΕᑩ৺౜ gʘ౜ढ़ऋ
ɍࠇۗ࿫ˮȿԭαeϊ̔cˢɖܰ౜ऋʿ g ‫ۄ‬Ԉ౜ୂ΋ԯ‫מ܃‬Ί‫ځݯ‬ҳແ€‫ؿ‬ι
ࡗeˢ‫ؿ‬རᅥ˿ΕԯᏵᆉɣဥA Cloud of Red DustɻᚹԷe̊̔cΕ‫ ˈځ‬g ‫׳‬ٛ
Who Used to DanceʥWholly Earthԭਜ਼਎ːɻɖॶҒԷˢ‫ؿ‬၀ಖརҌe
˱ढ़ऋ౦།ɺʭᅥඅ΋АcΣ໽ճɡ g˺ऋdใན g৛෌ּ౜dᖓ͠ g‫ࣟۄ‬ᖓʩdऋ
߻ g ෲᄨജ౜dؒᖓ g ࣚᄨ౜dКּК g ऋԈʥ‫ځ‬ဍ g ࣟཊ೩‫ؿ‬ᅥඅe
Alvester Garnett
Drums
Alvester Garnett hails from Richmond, Virginia and graduated from the Jazz
Studies Department at Virginia Commonwealth University in 1993. During his time
in college and high school he had invaluable opportunities to study with Max
Roach, Victor Lewis, Doug Richards and Ellis Marsalis. Three months after
graduating from university Garnett moved to New York and was working with
Betty Carter and Abbey Lincoln.
Around the same time he became a regular member of the Abbey Lincoln Quartet,
playing with them for over four years, while also playing with the Cyrus Chestnut
Trio for two years. Alvester Garnett was also a member of the first Stefon Harris
group that went by the name Ashati and he can be heard drumming on the award
winning debut CD entitled A Cloud of Red Dust. Other highlights of his
appearances on recordings also include Abbey Lincoln’s Who Used to Dance and
Wholly Earth.
Alvester Garnett has also worked in the bands of many other artists including James
Carter, Wynton Marsalis, Roy Hargrove, Teddy Edwards, Pharoh Sanders, Clark
Terry and Al Grey.
̡́ʍଽBiographies
31
КԈ౜ gഠऋ˺ౝ
Гࠑɣొೄ
КԈ౜ gഠऋ˺ౝ1971ά‫כ‬ႝɢɓ̛ԓήcଓพ‫ۤכ‬෧౜ነ৑c1993α঴ցֈख़
޸eˢ౦།ΛϽࠓࣟ߼ଔ‫ؿ‬Щጙ࿫ۗࡼ΋Аc˳‫ܢ‬iࡥᄨg̠ഠК৩ဍd௶‫ ؝‬g˱І
࢟dѴဍ g ௶ɽd৛ऋ g Ѵౝdּၐ g ݀ɭʥ௶ g ৛ढ़Ԉe
ˢ˞ЂّۗӸͫ਄ၤႇА‫ؿ‬਎ː༠ɀɊ̒ਜ਼c౦΋А‫ࠑؿ‬ᅥɁ˳‫ܢ‬i௶ g ୣԈ౜d
৛К gԈ௟ऋdಝճ g‫ۄ‬৺ဍd৛ऋ g৛ढ़Ԉd̠ྵ gୣԈ౜ʥΪ‫ ̛׭‬g݀ਅ೩eӸ࠹
Аςࡼ‫ؿ‬ഠऋ˺ౝcֺАς͌ိᗘᐥΛcͅ۩ᅥϭ͚ᚊᅥcᎶτသτeˢ௖‫ݯٶ‬Ϭ
ɯ‫ۗࠇ̒ؿ‬ᇁᄘɣဥLay-UpcᏵख़޸ࣂంി‫ݯ‬ȹ‫ݚ‬А‫ۂ‬cҡ̨Ƀཋ̎Ᏺɡᅥ࿔
ɊɣϽສe
௿˰ɻᘭi‫عߗڠ‬
Chris Lightcap
Bass
Born in Pennsylvania in 1971, bassist Chris Lightcap graduated from Williams
College and has lived in New York since 1993. He has performed with a wide array
of improvisers including Ed Blackwell, George Garzone, Sheila Jordan, Matt Shipp,
Ravi Coltrane and Joe Maneri.
Among his two dozen recordings as a sideman are CDs with Joe Morris, Marc
Ribot, Tom Harrell, Mat Maneri, Butch Morris and Anthony Coleman.
Also a composer, Lightcap has written extended works ranging from chamber
ensembles to full orchestras. Recently he has been involved with writing music for
his quartet, whose debut CD Lay-Up was dubbed ‘first rate’ by the New York Times
and reached the top ten on the jazz radio charts.
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͉‫ټ‬ᆉ
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ˮ‫ࠗ خ‬ಋᖚ୺ຝԾผτࠉʔ̇ Published by Hong Kong Arts Festival Society Limited ֻͿ Printed by A.Plus Design
̯˰ʑࢀc̰຤ஈ˿cɺ੡ᔝ༗e Reproduction in whole or in part without written permission is strictly prohibited.
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