Gerald Garcia (1962 - , 香港)
谢嘉齐出生於香港，在英皇佐治五世学校完成中二课程后，即於1962年前往英国累斯特城继续进修。之后进入牛津大学攻读化学，一九七一年穫颁荣誉学位。谢嘉齐在牛津大学时即随约翰威廉士 (John Williams) 学琴，随后也和比贝里昂Gilbert Biberian、布劳尔Leo Brouwer等学琴。
谢家齐是吉他王子约翰威廉士（J. Williams）的入室子弟子之一，深获大师讚赏。在音乐处理方面，谢嘉齐能兼顾理性与感情，因此，他的音乐能以丰富且晶萤剔透的音色，流畅而不造作的旋律，给人一种热情洋溢，又不过份甜美的感觉，这也许正是他能驰骋欧洲乐坛的原因之一。此外，谢家齐也致力推展中国音乐，并曾与日本小提琴家西崎崇子（Takako Nishizaki）精选国乐曲目中，适合吉他与小提琴特性的曲子，改编为吉他与小提琴二重奏，并灌录了一张专辑（踏雪寻梅），深受港台两地各界人士推崇。
Release Date 1992
Genres: Classical, Music
Released: 10 July 1992
℗ 1992 Naxos
Original Release Date: July 10, 1992
Copyright: © 1992 Naxos
Total Length: 1:07:50
By David Saemann VINE VOICE on February 13, 2008
Format: Audio CD
Gerald Garcia has made an estimable series of CDs for Naxos, and this one is no exception. He has a beautiful sound for Romantic guitar music. His tone is large, his passage work never becomes coarse or astringent, and his overall conceptions are lush sounding and warm. The Mendelssohn and Schubert transcriptions are preformed with a great deal of delicacy, almost dreamy. The two Paganini Caprices are brilliant display pieces that Garcia dispatches with style and ease. As for the Paganini Sonata, it is an engrossing work that Garcia never lets sound heavy. Add a full spectrumed sound engineering picture, and you have a very appealing album.
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2 of 3 people found the following review helpful
By Leslie Richford on April 24, 2005
Format: Audio CD
This beautifully studio-recorded disc from 1989 was, if I am correctly infomed, Gerald Garcia’s fifth CD for Naxos (following on from “Concierto de Aranjuez”, “Brazilian Portrait”, “Latin American Guitar Festival” and “Baroque Guitar Favourites”). It contains some of the “prettiest” music for classical guitar that I have ever heard, although I should add in the same breath that there is, in fact, no music for classical guitar at all on the disc – all the pieces here recorded are transcriptions of music for violin solo (Paganini’s Caprices), for violin and guitar (Paganini’s Grand Sonata), for piano (Mendelssohn’s Songs Without Words) and for voice and piano (Schubert’s Lieder). The Paganini and Mendelssohn appear to have been transcribed by Garcia himself, whereas the Schubert was congenially adapted for the instrument by Johann Kaspar Mertz, a 19th century Bohemian guitarist. The title of the CD, “Romantic Guitar Favourites”, is therefore a complete misnomer, but that in no way affects the enjoyment to be had from listening to what, to my non-expert ears at any rate, is some excellent guitar-playing in first-rate audio quality. The notes, written by Gerald Garcia himself, are brief but informative.
Gerald Garcia: Know your body, avoid injury
Gerald Garcia is great company: he is a delightful blend of the knowledgeable, fun, insightful and energetic, as is reflected in his renowned compositions and concerts, his participation in musical events from east to west across the globe, his membership of the famous Mandolinquents, his blog, and the fascinating life he leads among people of music and science.
It was for a concert with the Mandolinquents at the British Banjo Mandolin & Guitar Festival that Gerald was in town this month, and we were fortunately able to grab him to spend the evening with us at the Brunswick.
The richness of Gerald's professional experience and cultural background allows him a very broad and multi-faceted view of musicianship. He is inspired by, and equally illuminating regarding, any area of the guitar, be it the details of soprano guitar construction, the phenomenon of the Chinese child prodigy, the South American charango, or the anatomy of John Williams' hands, and it may also be what makes him such an original thinker.
Gerald talks to us this evening about the physicality of playing the guitar. Again he is well placed to do so by personal experience - this time of a serious physical condition, Focal Dystonia, which has ended the career of more than one concert artist (Nicola Hall among others), and of his application of the Alexander Technique and Tai Chi in resolving it.
Focal dystonia is a strange mental-physical ailment that affects musicians. It is an alarming and debilitating condition affecting the ability to perform and is seemingly triggered by repeated practice of sets of unnatural movements, such as the fast alternating strokes of the fingers on the strings of the guitar, that go against the natural mechanical design of the body itself.
The results can be extreme. Gerald cited the case of a pianist who was prevented from playing at all, simply falling forward over the keys whenever she sat at the piano on, very specifically, a piano stool. Such was her mind and body's rebellion against the thousands of hours of unnatural conditioning it had been subjected to that the touch of the piano stool triggered a subconscious 'refusal' to perform that the person herself was powerless to overcome consciously. Astonishingly, the provision of any other seat or chair cured the problem instantly. Gerald's case was not so spectacular, but certainly was cause for concern and worry at the time (see link to his article below).
For guitarists, the key idea arising from Gerald's reflections is that guitar playing must be fitted with how the body is designed naturally to move and work - not the other way round, where the body is reined in awkwardly to the shape of the instrument. A happy medium is very much achievable with a little awareness.
The question of playing posture is not new among guitarists - back problems, optimal wrist positions, types of foot stool, etc. are constantly discussed - but Gerald gave us a new, fine-grained view of physical awareness, transferred to musicianship from yoga and tai-chi. After sharing his personal experience he gave us our own opportunity to understand how the body operates, as different from how we imagine it to operate or try to train it to operate. The next 15 minutes were amusing and enlightening. The exercises Gerald had us do included very-very slow curling and uncurling of each finger, one joint at a time; identifying the axis above the ears around which the head moves when we nod, the apparent length of a finger when viewed from the palm side versus the from back, and the line that continues along the ulna of the forearm through to the end the little finger; the shape of the spine. This mechanical investigation must be unhurried; it must feel easy and slow. The simplest finger-curling exercises made a big difference to Gerald's own playing by 're-connecting' him to his hands. We should watch ourselves in the mirror, practise the guitar in front of a mirror, or ask a friend to comment on how we move.
For many this is a surprising, new area for consideration, and one which certainly promises much reward for time invested.
Our sincere thanks to Gerald for a genuine raising of our awareness and for a hugely interesting and entertaining evening.
24 Caprices, Op. 1: No. 9 in E Major (arr. for guitar)
01. 24 Caprices, Op. 1: No. 9 in E Major (arr. for guitar) 00:04:39
Song without Words, Op. 19, No. 6, "Venetian Boat Song I"
02. Song without Words, Op. 19, No. 6, Venetian Boat Song I 00:02:19
03. Song without Words, Op. 19, No. 4 00:02:04
Song without Words, Op. 53, No. 4
04. Song without Words, Op. 53, No. 4 00:02:40
Song without Words, Op. 85, No. 2
05. Song without Words, Op. 85, No. 2 00:01:31
Song without Words, Op. 62, No. 4
06. Song without Words, Op. 62, No. 4 00:01:26
Song without Words, Op. 30, No. 6, "Venetian Boat Song II"
07. Song without Words, Op. 30, No. 6, Venetian Boat Song II 00:03:46
08. I. Allegro risoluto 00:10:10
09. II. Romanza 00:04:09
10. III. Andantino Variato 00:09:08
24 Caprices, Op. 1: No. 1 in E Major (arr. for guitar)
11. 24 Caprices, Op. 1: No. 1 in E Major (arr. for guitar) 00:07:17
Mertz, Johann Kaspar, arranger(s)
Lob der Tranen (Praise of Tears), D. 711 (arr. J. K. Mertz)
12. Lob der Tranen (Praise of Tears), D. 711 (arr. J. K. Mertz) 00:03:26
Schwanengesang, D. 957: No. 1. Liebesbotschaft (Love's Messenger) (arr. J. K. Mertz)
13. Schwanengesang, D. 957: No. 1. Liebesbotschaft (Love's Messenger) (arr. J. K. Mertz) 00:03:37
14. Schwanengesang, D. 957: No. 4. Standchen (Leise flehen meine Lieder) (arr. J. K. Mertz) 00:03:41
15. Schwanengesang, D. 957: No. 5. Aufenthalt (Delay) (arr. J. K. Mertz) 00:03:17
16. Schwanengesang, D. 957: No. 10. Das Fischermadchen (arr. J. K. Mertz) 00:02:09
Winterreise, Op. 89, D. 911: No. 13. Die Post (arr. J. K. Mertz)
17. Winterreise, Op. 89, D. 911: No. 13. Die Post (arr. J. K. Mertz) 00:02:31
Total Playing Time: 01:07:50