ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe 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
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier 08 Brad Meldau Trio 5
1ɩࣂ30ʗᘸcٽˮ ɺஉɻͤࢠ Running time: approximately 1 hour and 30 minutes with no interval
ࠗಋɣผਦࠑᅥᜨ Concert Hall, Hong Kong City Hall 22.2.2005
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk 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. ɍࠇۗιࡗ Trio Members 7
ᄨgဍ۹ɍࠇּ̠ۗ Brad Mehldau Trio
፡ೄ Piano ᄨgဍ۹ Brad Mehldauּ̠
Гࠑɣొೄ Bass ԈgࣟࢬᎼԓ Larry Grenadierּ
ར Drums ʩgʱּᄨ Jeff Ballard
ᗫཽৈ֙ᖳХּ̠ᄨgဍ۹ɍࠇۗɾϾ਼ Accommodation for the Brad Mehldau Trio is sponsored by
̯ຝ͌ࠑᚊኂҥͅСೄϷᖳХ The audio equipment is sponsored by
All photographs © Warner Brothers Records 8 ਿ Interview
ᄨgဍ۹ᇹּ̠
݅ଉgȻ ᄨgဍ۹ּ̠
ɔӀτΕᏲɡᅥɻᚹ۾Бؿณਿፎν፣ȿRadioheadؿৱਨӔዀኂɁe҈ࠨɰ ԷݚϷࠑᅥȿcȿʭஈؿׄ̒̌ແʩgඔ༠eԝΣcԞϬȼɊαˤؿᏲ ౨ЍٶLed Zeppelinֶɠࠓˌ྆ؿςeိᑭබضɡᅥᖚࡼcȹঁɺ τֺҝᛰeЄj˝
ᘨcΣʌȹʘᛰୀcᏲɡᅥɻɖӀτȹိऋП൙ؿࠓࣟcɖӀ҈ ਐᕀeЎ҈ႏݯΕᏲɡᅥɻc˞֡ᅥֺፕؿࠑᅥҥࢿcԯࠇֲ߬τࣂɣ ᅚᔔఒԒҥࢿe܉ࣂٲȿeभ̳ࠇ߬ؿcܰˢֶΕᖐЩጙ
҈ፕእȹࠖԞۗࣂc҈ᐢܰྦྷ̚τᘨؿe֡֡ܰܺࠖ̚҈ᆃ੪ɰɔؿ cᒖಳɺͲΣϊeȹࠖॶʵܺɁؿੱͳსcᐢܰτஈΛࡈΐؿe
ȹҺց҈ፕእςؿΐॖcܰ҈ॶЯҒȹʵɁɃؿᖐʹؒc˞ʥҒ̊ ؿʿβeྡྷɐcԒɷܰभ̳ᄧᚊ҈ҺցؿΐॖeΐٲԷྦྷࠖАЩጙ ٲሂɁֶЄࣂᄘАࠖcΕྡྷכݯ҈АݯᚹଠࣂcɖτΣϊ౨શؿeϭ ɻԎɺࠇ߬e ਿ Interview 9
Бፕእς͌ؿྸ۹cնԷଊΕ˿τɣҝᛰj
Ӏᛰe҈ԞӀА༦ϣ൴eੱؗ֡֡ܰc҈ຆԷȹࠖc㠥ۗcϷగϷc Щగॶցྔe͓ڈɺϷగ့ȿeЎܰcϷɺϷcτࣂԎ
Сgढ़ဍႫԣԈۤܢ˳iБؿАّ؟ΕБؿЂۗ́ɻcၤؿᆲდݯᄤ gᔁˈऋᅚɺؿࠑᅥࡼeሂྦྷБᄧᚊɣjޫ
ˢʹ֤gВ࢟դͿോ૯cϭʌᑹΕˢؿᅥඅɻۗcϤҰωᐢྦྷ҈ ؿภᅡeϊ҈ܰقɊʗҶሶeΕςሁʗ̏ؒdςፕእАςʿࠍcˢȹܰ ᗒѿcˢܰȹϽͲॶࠑᅥɁcܰዟऋڈ҈˥cˢʹऋgᖓใКဍɖ̔ כؿภᅡeΛαԞ҈ၤˢАಲංcࡄࡄᑹၤԯณਿፎ૯ؿ፣ࠑeϭֲ Аcɖ˥҈Շੜई˘ΑټؿˈСgѴܨΕɺၤརʹϝgޫ̠ɰ ΣЄιݯᅥඅეऒؿภᅡe҈ܰڬՈಲᆯeϤᔁКဳʹीഒԓgͶʼ
АςeБੀΣЄѧιඖͨ৻jעʑਥࠑᅥᜨկБݯ৩ɣؿɤঢ়ࠑ᮶ձg١ഠ˺
g࣓ؿמʵܰc̦ݯᐰᅥ፡ೄϤАe҈ፕእԈਥᚉܞˢࠨ҈ȹؿ Аീc҈ɰѧιȿԯɻʒࠖc˿ॶᑹผʹᄘԭࠖe
cқֶͲԑͱᖪᄘjٲผЯτЩጙۂԒА
˞˿ͲԑͱᄘΡcɺࣹʥЩጙe߬ూ߸ϬɯؿࠑᅥࠓࣟܰɊʗшᗒؿcЎ τዟᒉe҈ႏੱ̚ྦྷقᖚςؿ௩ෲcΛαԞ҈ȹ̀ྦྷ҈ܮ႓cٛցผʦ ɻcτ̀ʏॖhΕۂݯcΕࠑᅥɐcɺᚹଠผᚹˮɺؿοመeΕ፡ೄА ຝۗၤᐰɻc֡֡τᏲɡᅥʏॖhϤΕܺԒੱؗɎcςሁؿʗ̏ؒผτݚϷ ࠑᅥʏॖe҈౦྇͝ཫᕽձgၹுԫᅚτመؿݚϷʹcؿςሁʗ̏ؒ eپዟτؿරעรఒຝۗe҈Аςࣂc҈ɖผϣᄬԷ᮶ձg١ഠ
ҝᛰȿɍࠇۗؿࢀeٶБ
˥Ɂࢯኍؿeʱڈҡȿརʹ ҈ଊΕၤʩgʱּᄨАcၤˢͳԑܰ҈ ሌˢcҡ౦Εɺၤˢ̎ˮeξగ۾τɈؿརʹc҈ڰᄨܰϽੜּ ᖫˢࠨΕঢ়ɻࣂɰႏᖫޚʱּᄨГࠑɣొೄʹּԈgࣟࢬᎼԓΕࠑᅥɐܰϢ ȿcɖᘷȿˢࠨؿАܰΣЄጱಲංe
፡ೄޢརʹ௶؝gᖓϹͳԑɊαc҈ࠣᘨйȹݒໃȿeᖓϹΛᝃک҈ ˮϳؿ፡ೄۗࡼcɖΛᒨАςeڈˢܰȹϽ
ɻᘭiඡᏬಳ 10 ਿ Interview
A Few Words with Brad Mehldau
Charles Martin Brad Mehldau
Your new album has the Radiohead song Paranoid Android. For a long time you didn’t hear many pop tunes in jazz, apart from the odd Beatles or Stevie Wonder tune. Jazz artists who came of age in the 1970’s, say, didn’t generally play Led Zeppelin or Earth, Wind & Fire. That seems to have changed of late. What’s going on?
I think everything is splintered now, and there’s not one particular ethos in jazz that takes precedence over another one; that’s fine really. I would say though, that with jazz, the importance of the material the musician chooses is sometimes overblown. What’s really important is what he or she brings to the material in their interpretation and improvisation.
When I’m choosing a song to play, I always have an emotional connection to it. Often it’s a song I’ve known for a long time, although not always. There are lots of reasons why a song resonates emotionally with someone.
The next factor is whether I can find a compelling way to interpret that song, and a way to improvise on it. Those are really the only factors that guide my decision making. That’s what I look for as a listener – who wrote the song or when it was composed doesn’t matter so much in the actual performance.
Has your approach to choosing repertoire changed much since you started out?
It hasn’t changed. It’s never been calculated. It’s more a case of when it occurs to me to try a particular song, I try it, and then it either works or it doesn’t. Sometimes it’s not clear immediately if it works or not.
Your career as a sideman is pretty wide-ranging; you’ve played with people as diverse as Willie Nelson and Perico Sambeat. Who has made a particular impression on you?
The guitarist Peter Bernstein made a big impression on me, and I still play in his groups fairly regularly, which I always enjoy immensely. He’s been a model for me on the importance of melodic phrasing, choosing good songs and ਿ Interview 11
composition as well. Also the guitarist Kurt Rosenwinkel is big for me, as a complete musician, someone who is a model of individuality. I’ve gotten to work with him over the years and just recorded on his new record, Deep Song. The experience of playing with the drummers Jimmy Cobb and the late Billy Higgins on different occasions was very powerful and profound for me. Joshua Redman, the saxophonist, was a great model for me on how to be a band leader when I worked with him.
You were commissioned by Carnegie Hall to write music for the great soprano, Renee Fleming. How are you approaching that?
The only guidelines were that it should be for voice and piano. I’ve chosen texts from Rilke and Louise Bogan, and I’ve completed six songs and will probably write two more.
Will the work involve improvisation, or will it all be written out?
It’s completely written out, and doesn’t involve improvisation at all. It’s hard to describe your own music stylistically, but it definitely reflects my love for classical art songs that I’ve listened to for years. I would say that musically different listeners might hear different things. There’s a classical element in the piano writing, there’s a jazz element in the rhythm and harmony sometimes, and there’s a pop aspect to the way the melodies are phrased in some cases. I was trying to emulate the way an interesting pop singer like Joni Mitchell phrases her melodies rhythmically. As I write, I’m also thinking about Renee Fleming’s voice and the particular beauty it has.
You’ve made a change in your line-up recently.
I’ve made a switch in the drum chair – now I’m playing with Jeff Ballard, who I’m very excited to be working with. Jeff is a dynamic, powerful drummer whom I’ve admired for years, and I’ve gotten to play with him in different contexts over time. Jeff and Larry Grenadier, my bass player, have a very long relationship musically – they’ve known each other since high school – and that informs how they play together.
I worked with my former drummer, Jorge Rossy, for ten years, and we felt it was time to move on. Jorge wants to pursue the piano more – he’s a very fine piano player – and become more involved in composition. ̡́ʍଽ Biographies 13
ᄨgဍ۹ּ̠ ፡ೄ c౦અՇ̀ࠑᅥফᆻeˢαඩک།ɺʭሦȹᅚcּ̠ᄨgဍ۹ҙӸᏲɡࠑᅥ ϭɊ̒ัeʭαࣂcˢᚹฎᅥc༖Ᏺقɰնୌೄcʒั̳βɐ፡ೄᇾcȹั̒ ɡᅥҡΛe
Λα།ɺࠓࣟؿࠑᅥɁАcԎ˞ЂۗӸͫ፣ႇ܃ဍ۹1988αଫֈख़c֡ ɓؿࠑᅥࠓࣟcቴංӃՅࠑᅥቔͫc࠹νԎၫcڈːeϊࣂcˢնೕࢄዟऋ ԝΣiࠑᅥეऒ֤gВ࢟դdϹgᎼၐʥᎼၐgࣚʘcᑹτԯˢА ၐځؿࠑᅥɁcΣКgဲढ़dऋgᖓใКဍdԣԈޫgᔁˈऋdԈΪg֔˱d ιɍࠇۗؿ̊̔ԭΊιࡗּୂ܃ࣵgޫ࢟ʥКԈgؐऋ೩eϊ̔cဍ۹ɖ༤Էˀ ਝᅥኋcܰ˞ीഒԓgͶޚڋԈgࣟࢬᎼԓʥ௶؝gᖓϹcԎၤˢࠨАeˢࠖω ʼ̒ࠇۗؿιࡗӸͫc།ˢࠨ፣ႇɣဥʶၑฎࣅcԎȹԷᅩԀিˮȹα ˸e
ဍ۹౦፣ႇ፡ೄዟۗਿፎႧඑc̊τȹਜ਼ࣂν፣፡ೄዟۗʥɍࠇۗؿΔ ʿeϊԭਜ਼˿႓ܰล֨ɣဥc˞ࡈࠑᅥʏॖୂιcԎͅɺ˚ᕀኬe̊ cဍ۹τਜ਼Ίݯᄤؿɣဥcܰ།ɷੱݗึؿဟႇᕽg̠Ԉ।ؿАιe̔ eˢȹʿࠍ͓ྦྷעဍ۹ؿࠑᅥࠓࣟᒠ ෮ᕤcܰЩጙۗؿॶʹc፭ʹҐ ೀዱؿࠑᅥ෮֨cЩࣂʝݯ̉Ɂᖳ̰ ᅪؿќᅥhˢ̊ȹʿࠍcᒉੱࠑᅥ ܮઅ˞Ϭɯؿۗʦقؿ࿚ɾcԎ ˮԞeΕˢτܷɈؿۗɻcभ̳ ეॾؿܰԯࠑᅥ෮֨eˢᖾᄦۗcᖾҐ ෮֨ᄙᄙcɻؿ࿚ЍΕ߸႓Ϭ ԑeಲሃܰΕᙺಳϤcܨɯؿ ѮؖಳϤୄcқֶԳ෮ज͉cҰȹࠑଲ я෮ྸᔔఒeဍ۹ؿᔶࠇࠓࣟiЩጙ ˥ۗࡼʥѼβ˚ຮّcࠇᚲϤͳ́c ЍτѵɾҽeޜۂˢؿА
ဍ۹౦ιݯؒਝ፣ːᏲɡᅥӡ ͶؿՇྦྷോɾȹcԯۗؿ̋֯ ˚αႦɍࠇۗؿᖚȹፎؿ҈ ̨ςҡˮଊΕཋᄧɣଡ҇ɻc ࣂɖν፣Εཋᄧࡈᐰɣဥeˢ౦ݯؒਝ ٶཋᄧ҈ϢਵܰࡗАςᅥc Ᏽ˺ʑਥࠑᅥᜨկcАςʥ፡ೄ ᅥᖪcԎ།ടΊ̀ɤঢ়ࠑ᮶ձg١ഠ Аeע 14 ̡́ʍଽ Biographies
Brad Mehldau Piano
Brad Mehldau, like many of his contemporaries, began his career with a classical training, long before he was exposed to jazz. He started experimenting with the piano when he was just four, began taking lessons when he was six and continued until he was 14. As a youngster he listened more to rock than jazz.
In 1988 Mehldau moved to New York where he worked with a variety of musicians over the following years and made several recordings as a sideman. During that period he began to develop his own style which he attributes to the influence of his musical peers, specifically band leaders Peter Bernstein, Jessie Davis and David Sanchez as well as other musicians he worked with including – Mark Turner, Kurt Rosenwinkel, Perico Sambeat, Leon Parker, Avishai Cohen and Chris Potter, to name a few. In addition he met and played with his future trio mates, Larry Grenadier and Jorge Rossy in several projects. Mehldau’s first major international exposure came as a member of the Joshua Redman Quartet, with which he recorded MoodSwing and toured the US and Europe for a year and a half.
As well as recording with the trio, Mehldau has a solo piano recording entitled Elegiac Cycle, and a record called Places that includes both solo piano and trio songs. Elegiac Cycle and Places might be called ‘concept’ albums. They are made up exclusively of original material and have central themes that hover over the compositions. Other Mehldau recordings include Largo, a collaborative effort with the innovative musician and producer Jon Brion.
Mehldau’s musical personality forms a dichotomy. He is first and foremost an improviser, and greatly cherishes the surprise and wonder that can occur from a spontaneous musical idea that is expressed directly, in real time. But he also has a deep fascination for the formal architecture of music, and it informs everything he plays. In his most inspired playing, the actual structure of his musical thought serves as an expressive device. As he plays, he listens to how ideas unwind, and the order in which they reveal themselves. Each tune has a strongly felt narrative arch, whether it expresses itself in a beginning, an ̡́ʍଽ Biographies 15
end, or something left intentionally open-ended. The two sides of Mehldau’s personality – the improviser and the formalist – play off each other, and the effect is often something like controlled chaos.
Brad Mehldau is also the subject of a French documentary entitled Jazz Collection: Brad Mehldau, and his performance of Blame It On My Youth, the lead track from Art Of The Trio, Vol 1, is featured in the film Eyes Wide Shut and its companion soundtrack on Warner Sunset. Mehldau has composed and recorded the score to the French film, Me Femme et une Actrice. He is currently working on a commission from Carnegie Hall to compose a set of songs for voice and piano, with the acclaimed classical soprano, Renee Fleming. ̡́ʍଽ Biographies 17
ԈgࣟࢬᎼԓּ Гࠑɣొೄ
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܆༦˾ᅕαcּ̠ᄨgဍ۹ɍࠇۗӀτ፣ࠑֶˮࣂcࣟࢬᎼԓ˚߬།݇ऋg ɍࠇۗԀিˮʥ፣ႇːe̛
Larry Grenadier Bass Larry Grenadier attended Stanford University where he received a BA degree in English Literature. After moving to the East Coast of the US he played with the Gary Burton Band, touring the US and Europe. Since moving to New York he has played with Joe Henderson, Betty Carter, Pat Metheny and the John Scofield Group. For the past year when not touring and recording with the Brad Mehldau Trio, Grenadier tours and records with the Pat Metheny Trio.
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Jeff Ballard Drums Jeff Ballard grew up in Santa Cruz, California. From 1988 to 1990 he toured with Ray Charles before moving to New York. Since then, he has played and recorded with Lou Donaldson, Danilo Perez, Chick Corea and Joshua Redman to name a few. 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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