Friday, February 3, 2012
RICHARD EGARR, Harpsichord
The Harpsichord’s Golden Century
First Unitarian Universalist Church, 7:30 p.m.
5200 Fannin, Houston, TX 77004
Pre-concert talk at 6:45 p.m.
Harpsichord superstar Richard Egarr returns to Houston with his trademark sense of discovery and a fresh, compelling look at the virtuosic works of 17th century composers Couperin, Purcell, Froberger and Blow. With his inquiring mind and adventurous spirit, Egarr engages the audience with a gripping performance of works from a time when there were no restrictions and eccentricity was the standard.
View the concert program
- Download Concert Program Harpsichord’s Golden Century
- Bob Stevenson’s interview with Richard Egarr on KUHF’s The Front Row
- Richard Egarr’s Website
- YouTube -R. Egarr, harpsichord
For the program, entitled The Harpsichord’s Golden Century, Egarr will present a fresh look at works of 17th century composers Louis Couperin and Johann Jakob Froberger, who were known to be great friends and colleagues.
“The two geniuses inspired each other to create some of the most wonderful creations for the harpsichord,” Egarr said.
He will also examine the work of John Blow and Henry Purcell, which, he said, “add a bit of English quirkiness to the mix.”
Egarr said he is particularly inspired by 17th century composers, because he believes the greatest music for harpsichord was written during this time.
“This is the century of real musical barrier breaking and exploration, as well as the time of the harpsichord’s greatest importance,” he said. “I am a proud music addict and love to communicate my passion and enthusiasm for music to everyone I come into contact with.”
Egarr currently serves as music director of the Academy of Ancient Music, is increasingly sought after as a conductor by non-period chamber and symphony orchestras and performs with period ensembles such as the Handel and Haydn Society in Boston, Tafelmusik and Portland Baroque.
Egarr began his musical training as a choir boy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College Cambridge. His studies with Gustav and Marie Leonhardt further inspired his work in the field of historical performance.