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演出名稱: 20座格萊美獎得主——吉他大師 Pat Metheny 派特·麥席尼·北京首演音樂會
演出時間：2025年5月16日 周五 19:30
演出票價(jià)：280 380 580 880 1080 元
演出地點(diǎn):中山公園音樂堂
演出時長:90分鐘
初始開售門票總張數(shù):1200張
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2025 年5月16日 周五 19:30
20座格萊美獎得主 ——
吉他大師 Pat Metheny 派特·麥席尼北京首演音樂會
演出：派特·麥席尼
曲目：
蒙特利爾的陽光
奧馬哈慶典
安東尼婭
獻(xiàn)給露絲的華爾茲
我們的西班牙情歌
天堂電影院
第一首歌
獻(xiàn)給男孩們的歌
進(jìn)入夢境
最后一班回家的列車
拉克羅斯
月晷
機(jī)械樂團(tuán)
夢見墨西哥
締造和平
*陣容、曲目請以當(dāng)日演出為準(zhǔn)
演出票價(jià)：280 380 580 880 1080 元
7.30pm, Friday, May 16, 2025
Forbidden City Concert Hall, Beijing
Guitar Maestro Pat Metheny- 2025 Beijing Premiere Concert
Pat Metheny, Guitar
Program
Medley - Metheny
The Sun In Montreal - Metheny
Omaha Celebration - Metheny
Antonia - Metheny
Waltz For Ruth - Haden
Our Spanish Love Song - Haden
Cinema Paradiso - Morricone
First Song - Haden
Song For The Boys - Metheny
Into The Dream - Metheny
Last Train Home - Metheny
La Crosse - Metheny
MoonDial - Metheny
Orchestrion - Metheny
Sueno con Mexico - Metheny
Make Peace - Metheny
Ticket
Price：280 380 580 880 1080 yuan
Packages for 2 people：1000(580*2) 1500 (880*2) 1780 (1080*2) yuan
派特·麥席尼，吉他
Pat Metheny, Guitar
派特·麥席尼（Pat Metheny），1954年8⽉12⽇出⽣在堪薩斯城的⼀個⾳樂家庭，8歲學(xué)吹小號，12歲時轉(zhuǎn)學(xué)吉他。他15歲時即已定期同堪薩斯城一流的爵⼠樂人合作，如此年輕便已收獲了寶貴的現(xiàn)場演奏經(jīng)驗(yàn)。1974 年麥席尼開始在國際爵⼠樂壇嶄露頭⻆。在與顫⾳琴⼤師加⾥·伯頓（Gary Burton）合作的三年間，這位密蘇⾥年輕⼈獨(dú)特的演奏風(fēng)格便已呼之欲出。他將高度敏銳的節(jié)奏與和聲感覺融入到通常屬于圓號的那種松弛靈活的發(fā)音方式，演奏與即興有著現(xiàn)代理念，其根源卻深植于爵⼠樂的旋律傳統(tǒng)、搖擺樂以及布魯斯之中。
1975年發(fā)行的⾸張專輯《明亮生活》（Bright Size Life）為新⼀代演奏者鍛造出傳統(tǒng)“爵⼠吉他”音色的新聲。在其整個演奏生涯中，麥席尼一直在利⽤新技術(shù)去不斷發(fā)掘吉它這種樂器在即興與聲學(xué)方面的潛力，從⽽不斷推動著這⼀樂種的義界。他在樂器演奏方面的多才多藝⼏乎⽆⼈能及，多年來與很多不同領(lǐng)域的藝術(shù)家合作，其中包括當(dāng)代作曲家史蒂夫·萊希（Steve Reich）、爵士音樂家奧內(nèi)特·科爾曼（Ornette Coleman）、赫⽐·漢考克（Herbie Hancock）、吉姆·霍爾（Jim Hall）、⽶爾頓·納⻄曼托（Milton Nascimento）及搖滾歌手⼤衛(wèi)·鮑伊（David Bowie）等。麥席尼曾為獨(dú)奏吉他、⼩型樂隊(duì)、電聲及原聲樂器、⼤型管弦樂團(tuán)甚至芭蕾舞等創(chuàng)作作品，跨越現(xiàn)代爵士、搖滾及古典等不同曲風(fēng)。甚⾄還有他“Orchestrion”項(xiàng)⽬中的機(jī)器⼈樂器作品，他總是巧妙地避開任何⼀種⾳樂流派的局限性。
除了音樂演奏方面的杰出成就外，麥席尼在音樂教育方面也頗有建樹，18歲時即成為邁阿密⼤學(xué)有史以來最年輕的教師，19歲時又成為伯克利⾳樂學(xué)院史上的最年輕教師，并在二十多年后的1996年獲該校頒發(fā)的榮譽(yù)博⼠學(xué)位。他還在全球各地舉辦⾳樂工作坊，包括荷蘭皇家⾳樂學(xué)院、蒙克爵⼠學(xué)院以及亞洲與南美洲各地的⼤師班。在電⼦⾳樂領(lǐng)域，麥席尼也是⼀位真正的先驅(qū)人物，是最早將合成器作為嚴(yán)肅樂器來使⽤的爵⼠樂人之⼀。早在MIDI技術(shù)發(fā)明之前數(shù)年，麥席尼即使用合成鍵盤（Synclavier） 作為作曲⼯具。此外，他還協(xié)助開發(fā)了幾種新型吉他，包括⾼⾳⽊吉他、42弦Pikasso吉他、伊巴內(nèi)茲PM-100爵⼠吉他及數(shù)種不同的定制吉他。借助于螺線管驅(qū)動的機(jī)械自奏樂器Orchestrion，麥席尼將整個樂器開發(fā)過程提升到了一個新高度。
作為⾳樂家的知名度固然來之不易，而來⾃樂評人及同⾏的贊譽(yù)也彌足珍貴。
多年來，麥席尼贏得的“最佳爵⼠吉他⼿”稱號及獎項(xiàng)多到難以計(jì)數(shù)，包括三張⾦唱⽚：《靜物之言》（Still Life Talking）、《家信》（Letter from Home）和《秘密故事》（Secret Story）。所獲20項(xiàng)格萊美獎包括了“最佳搖滾樂器演奏”、“最佳當(dāng)代爵⼠錄⾳”、“最佳爵⼠樂器獨(dú)奏”和“最佳器樂作曲”等十二個不同類別。他領(lǐng)銜的樂團(tuán)曾以連續(xù)七張專輯而連續(xù)七次獲得格萊美獎，可謂史無前例。麥席尼⼀⽣中⼤部分時間都在巡演。⾃1974年以來，他每年約有120至240場演出。迄今，麥席尼仍是爵⼠樂界最耀眼的明星之⼀，在完成自己計(jì)劃的同時，也同樣投身于樂壇新秀及資深⽼將的項(xiàng)目中，協(xié)助他們觸達(dá)更多的觀眾，實(shí)現(xiàn)⾃⼰的藝術(shù)愿景。
PAT METHENY was born in Kansas City on August 12, 1954 into a musical family. Starting on trumpet at the age of 8, Metheny switched to guitar at age 12. By the age of 15, he was working regularly with the best jazz musicians in Kansas City, receiving valuable on-the-bandstand experience at an unusually young age. Metheny first burst onto the international jazz scene in 1974. Over the course of his three-year stint with vibraphone great Gary Burton, the young Missouri native already displayed his soon-to-become trademarked playing style, which blended the loose and flexible articulation customarily reserved for horn players with an advanced rhythmic and harmonic sensibility - a way of playing and improvising that was modern in conception but grounded deeply in the jazz tradition of melody, swing, and the blues. With the release of his first album, Bright Size Life (1975), he reinvented the traditional "jazz guitar" sound for a new generation of players. Throughout his career, Pat Metheny has continued to re-define the genre by utilizing new technology and constantly working to evolve the improvisational and sonic potential of his instrument. METHENY'S versatility is almost nearly without peer on any instrument. Over the years, he has performed with artists as diverse as Steve Reich to Ornette Coleman to Herbie Hancock to Jim Hall to Milton Nascimento to David Bowie. Metheny's body of work includes compositions for solo guitar, small ensembles, electric and acoustic instruments, large orchestras, and ballet pieces, with settings ranging from modern jazz to rock to classical.
As well as being an accomplished musician, Metheny has also participated in the academic arena as a music educator. At 18, he was the youngest teacher ever at the University of Miami. At 19, he became the youngest teacher ever at the Berklee College of Music, where he also received an honorary doctorate more than twenty years later (1996). He has also taught music workshops all over the world, from the Dutch Royal Conservatory to the Thelonius Monk Institute of Jazz to clinics in Asia and South America. He has also been a true musical pioneer in the realm of electronic music, and was one of the very first jazz musicians to treat the synthesizer as a serious musical instrument. Years before the invention of MIDI technology, Metheny was using the Synclavier as a composing tool. He has also been instrumental in the development of several new kinds of guitars such as the soprano acoustic guitar, the 42-string Pikasso guitar, Ibanez's PM-100 jazz guitar, and a variety of other custom instruments. He took the whole instrument development process into a different level with his mechanical, solenoid driven Orchestrion.
It is one thing to attain popularity as a musician, but it is another to receive the kind of acclaim Metheny has garnered from critics and peers. Over the years, Metheny has won countless polls as "Best Jazz Guitarist" and awards, including three gold records for Still Life (Talking), Letter from Home, and Secret Story. He has also won 20 Grammy Awards in 12 different categories including Best Rock Instrumental, Best Contemporary Jazz Recording, Best Jazz Instrumental Solo, Best Instrumental Composition. The Pat Metheny Group won an unprecedented seven consecutive Grammies for seven consecutive albums. Metheny has spent most of his life on tour, averaging between 120-240 shows a year since 1974. At the time of this writing, he continues to be one of the brightest stars of the jazz community, dedicating time to both his own projects and those of emerging artists and established veterans alike, helping them to reach their audience as well as realizing their own artistic visions. |
