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March 28: Trio Sonnerie (Monica Huggett, Dir.) presented by Houston Early Music

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Houston Early Music

presenting the world’s finest period ensembles and soloists … bringing to life music from the Middle Ages through the Renaissance to the Baroque and Classical periods. Experience with us early music played on original instruments, by musicians reviving performances of the past.

Houston Early Music presents

Mon., Mar. 28, 2011

TRIO SONNERIE, Monica Huggett, Dir.

The Harmony of Nations

7:30PM, Palmer Memorial Episcopal Church
6221 Main Street (77030)

See Program

Trio Sonnerie will be featured at the next Houston Early Music concert on Monday, March 28, 2011. Entitled The Harmony of Nations, the performance will be held at 7:30 p.m. at Palmer Memorial Episcopal Church, 6221 Main Street, Houston, TX 77030.

The concert will feature English violinist and conductor, Monica Huggett, one of the foremost Baroque violinists and founder of Trio Sonnerie. Joining Huggett are Emilia Benjamin on viola da gamba and James Johnstone on harpsichord.

The trio will bring to the stage a contrasting program, including one of Heinrich Ignaz Franz Biber’s Mystery Sonatas for virtuoso violin, as well as French music for viola da gamba, tunes from Jacobean England and a sonata for violin and harpsichord by J.S. Bach.

“We have featured the remarkable Monica Huggett before,” said Nancy Ellis, artistic director of Houston Early Music. “It is a pleasure to welcome this extraordinary violinist back to Houston. She’s a favorite with Houston Early Music audiences.”

Dr. Gregory Barnett, associate professor of musicology at Rice University’s Shepherd School of Music, will offer a pre-concert lecture at 6:45 p.m. He also serves on the Board of Directors for Houston Early Music.

Barnett said Huggett’s performances are exceptional. “She has an amazing bow technique,” he said. “She has the quickest and most nuanced sound.”

Barnett explained that Biber’s Mystery Sonatas are difficult to perform. “It’s been years since I’ve seen anyone take on the Mystery Sonatas,” he said. “Biber wrote the hardest music for violin. It’s very difficult and wickedly fast.”

Barnett believes Huggett will rise to the challenge. “This is just made for Monica’s bow technique. It’s so quick and so intricate. She can get all of the colors and all of the rhythms,” he said.

Barnett said the scheduled performance is indicative of Houston Early Music’s dedication to providing Houston audiences with some of today’s best musicians.

“Houston Early Music always gets top-notch performers, and that’s not easy to do,” he said. “Nancy has been able to identify excellent and current players in the early-music scene. Houston Early Music represents the best there is out there.”

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www.sonnerie.org.uk

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Houston Early Music Online Ticket Service

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Click to purchase tickets to future concerts

Contact

Houston Early Music
P.O. Box 271193 Houston TX 77277-1193
Phone 713-432-1744
email info@HoustonEarlyMusic.org
Web http://www.HoustonEarlyMusic.org

Supporters

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance, the Texas Commission on the Arts, and the National Endowment for the Arts.

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Trio Sonnerie featured at Houston Early Music March performance

Webmaster — Tue, 15 Mar 2011 22:08:22 +0000

Download Press Release (Word document) HEMtriosonn.012411.FINAL

HOUSTON EARLY MUSIC

P. O. Box 271193

Houston, TX 77277-1193

www.HoustonEarlyMusic.org

Media contact:

Susan Love Fitts, 936-597-8825

susan@susanlovefitts.com

Trio Sonnerie featured at Houston Early Music March performance

HOUSTON, TX – February 2, 2011 – Trio Sonnerie will be featured at the next Houston Early Music concert on Monday, March 28, 2011. Entitled The Harmony of Nations, the performance will be held at 7:30 p.m. at Palmer Memorial Episcopal Church, 6221 Main Street, Houston, TX 77030.

Barnett said Huggett’s performances are exceptional. “She has an amazing bow technique,” he said. “She has the quickest and most nuanced sound.”

Barnett said the scheduled performance is indicative of Houston Early Music’s dedication to providing Houston audiences with some of today’s best musicians.

Specializing in music from the Middle Ages through the 18^th century, Houston Early Music provides unique programming of world-class concerts performed with historical instruments and styles true to the period. Houston Early Music is one of the nation’s oldest early-music organizations.

Tickets

Tickets for Trio Sonnerie are available at the door and online at www.HoustonEarlyMusic.org. $35 for general admission, $30 for seniors and $10 for students (with student ID). Free admission for children under 15.

For more information about Houston Early Music, please visit www.HoustonEarlyMusic.org, e-mail info@HoustonEarlyMusic.org or call 713-432-1744.

SUMMARY:

Monday, March 28, 2011, 7:30 p.m.

TRIO SONNERIE – The Harmony of Nations

Palmer Memorial Episcopal Church

6221 Main Street

Houston, Texas 77030

Pre-concert lecture by Dr. Gregory Barnett, 6:45 p.m.

SEASON FINALE:

Monday, May 2, 2011, 7:30 p.m.

FLANDERS RECORDER QUARTET – The Six Wives of Henry VIII

Trinity Episcopal Church

1015 Holman @ Main

Houston, Texas 77004

Pre-concert lecture by Thomas Crowe, 6:45 p.m.

MORE ABOUT HOUSTON EARLY MUSIC

Houston Early Music is one of the nation’s oldest early-music organizations and the city’s only presenting organization dedicated to covering the large historical span of early music in all of its forms. Officially incorporated in 1969, the nonprofit provides performance opportunities for up-and-coming and major early music artists from around the world in an annual concert series. A successful and growing educational outreach program introduces a future generation to a broad range of music. Houston Early Music is funded in part by grants from the City of Houston through Houston Arts Alliance and by Texas Commission on the Arts and The National Endowment for the Arts.

###

Media contact:

Susan Love Fitts, 936-597-8825

susan@susanlovefitts.com

Program: TRIO SONNERIE

Webmaster — Wed, 16 Feb 2011 16:48:00 +0000

Mon., Mar. 28, 2011

TRIO SONNERIE, Monica Huggett, Dir.
The Harmony of Nations

7:30PM, Palmer Memorial Episcopal Church
6221 Main Street (77030)

See all information about this concert

BUY TICKETS

HARMONY OF NATIONS

Trio Sonnerie

Monica Huggett, baroque violin

Emilia Benjamin, viola da gamba

James johnstone, harpsichord

PROGRAM

Prelude and divisions on “John Come Kiss me now” Thomas Baltzar (c.1631–1663)

Fantasy in d minor John Jenkins (1592–1678)

Pavin for lyra viol Tobias Hume (c.1569 –1645)

Toccata in G Johann Jakob Froberger (1616–67)
Suite in d Georg Böhm (1661-1733)

Allemanda – Courante – Sarabanda – Gigue

Sonata No.14 in D, “The Assumption of the Virgin” Heinrich Ignaz Biber (1644–1704)

from the Mystery Sonatas

Praeludium – Aria – Gigue

INTERMISSION

La Marésienne Marin Marais (1656–1728)
La Forqueray – La Cottin – La Couperin Antoine Forqueray (1671 – 1745)

from first Suite in d minor

Sonata in A major for violin and harpsichord Johann Sebastian Bach (1685–1750)

(BWV 1015)

Dolce – Allegro – Andante un poco – Presto

Next Concert: TRIO SONNERIE, Monica Huggett, Dir., Mon., Mar. 28, 2011

Webmaster — Wed, 16 Feb 2011 16:40:52 +0000

If you have difficulty reading this in email, please see our web site
http://www.houstonearlymusic.org/archives/1403

See all information about this concert

Please share this email with friends who may be interested in our programs.

Houston Early Music

Houston Early Music presents

Mon., Mar. 28, 2011

TRIO SONNERIE, Monica Huggett, Dir.

The Harmony of Nations

7:30PM, Palmer Memorial Episcopal Church
6221 Main Street (77030)

See Program

Trio Sonnerie, Monica Huggett’s longest running and smallest group, comes from the UK to present the choicest pick of Europe’s chamber music from the Baroque period. Biber’s astonishing “Mystery Sonatas” for virtuoso violin contrast with exquisitely refined French music for viola da gamba and sprightly tunes from Jacobean England. Of course, the Harmony of Nations wouldn’t be complete without JS Bach, here represented by a magnificent sonata for violin and harpsichord.

BUY TICKETS

www.sonnerie.org.uk

Join Our Email List

Click to subscribe to our email list

Houston Early Music Online Ticket Service

Houston Early Music is pleased to announce that you can now purchase tickets to our performances online, using major credit cards.

Click to purchase tickets to future concerts

Contact

Houston Early Music
P.O. Box 271193 Houston TX 77277-1193
Phone 713-432-1744
email info@HoustonEarlyMusic.org
Web http://www.HoustonEarlyMusic.org

Supporters

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance, the Texas Commission on the Arts, and the National Endowment for the Arts.

TRIO SONNERIE, Monica Huggett, Dir.

Webmaster — Fri, 07 Jan 2011 01:20:55 +0000

Mon., Mar. 28, 2011

TRIO SONNERIE, Monica Huggett, Dir.

The Harmony of Nations

7:30PM, Palmer Memorial Episcopal Church
6221 Main Street (77030)

BUY TICKETS

www.sonnerie.org.uk

Richard Egarr biography

Webmaster — Thu, 06 Nov 2008 17:35:48 +0000

BIOGRAPHY

“WHEN I HEARD THAT ENGLAND’S ACADEMY OF ANCIENT MUSIC HAD HIRED KEYBOARDIST AND CONDUCTOR RICHARD EGARR, I WAS ABSOLUTELY DELIGHTED… I’VE BEEN WAITING FOR A CONDUCTOR LIKE EGARR TO COME ALONG FOR SOME TIME… HE’S ONE OF THE MOST EXCITING AND DELIGHTFUL MUSICIANS OF OUR TIME.”

–National Public Radio’s “All Things Considered”, March 2008

Richard Egarr, acclaimed Music Director of the Academy of Ancient Music, is one of the most versatile musicians performing today. He has worked with all types of keyboards and performed repertoire ranging from fifteenth-century organ intabulations through Dussek and Chopin on early piano to Berg and Maxwell Davies on modern piano. He is in great demand as a soloist, chamber musician and conductor.

Egarr enjoyed his musical training as a choirboy at York Minster, at Chetham’s School of Music in Manchester, and as organ scholar at Clare College, Cambridge. His study with Gustav Leonhardt further inspired his work in the field of historical performance.

As a conductor, Egarr has directed a wide range of repertoire, from Bach’s St. Matthew Passion to John Taverner’s Ikon of Light. Richard has directed many oratorios and operas, including Handel’s Esther, Acis & Galatea, Alcina and L’Allegro, il Penseroso ed il Moderato and Messiah, Haydn’s The Creation, Purcell’s The Fairy Queen and Dido & Aeneas, Telemann’s St Matthew Passion and Mozart’s Don Giovanni and JS Bach’s Mass in B minor and St Matthew Passion. In addition to his busy performing schedule with the Academy of Ancient Music, he worked last season with Tafelmusik Toronto, Portland Baroque, the Flemish Radio Orchestra, and the Scottish Chamber Orchestra. This season Egarr collaborates with the Residentie Orchestra, The Hague, the Brabant Orchestra, the Flemish Radio Orchestra and Choir, Collegium Vocale Ghent and the Freiburg Baroque Orchestra.

Richard Egarr has given many solo performances throughout Europe and Japan. As orchestral soloist he has appeared with AAM, the English Concert, the Orchestra of the Age of Enlightenment, the Orchestra of the 18th Century, the Dutch Radio Chamber Orchestra, and the Netherlands Wind Ensemble.

In chamber music, Richard forms an ‘unequalled duo for violin and keyboard’ (Gramophone Magazine) with violinist Andrew Manze, performing music from the Stylus Phantasticus to Mozart and Schubert. They have toured extensively throughout Europe, North America and the Far East.

Richard Egarr records exclusively for Harmonia Mundi USA. His solo output comprises works by Frescobaldi, Gibbons, Couperin, Purcell, Froberger, Mozart and J.S. Bach. He has an impressive list of award winning recordings with violinist Andrew Manze, including sonatas by Bach, Biber, Rebel, Pandolfi, Corelli, Handel, Mozart and Schubert. With the Academy of Ancient Music he has recorded the complete Bach harpsichord concertos and an entire set of Handel discs including the Concerti Grossi Op.3, the Organ Concertos Op.4 and 7 and his Sonatas Op.1 and 5.

RICHARD EGARR: Concert program and notes

Webmaster — Thu, 06 Nov 2008 17:30:34 +0000

PROGRAM NOTES

The Supreme Lesson -Bach’s Wohltemperirte Clavier…1722

The Well-tempered Clavier, Or Preludes, and Fugues through all the Tones and Semi-tones, both with the major third or Ut, Re, Mi, and with the minor third or Re, Mi, Fa. For the use and practice of young musicians who desire to learn, as well as for the particular diversion of those who are already skilled in this study; made and composed by Johann Sebastian Bach, Kapellmeister for the time being to the Duke of Anhalt-Cöthen and director of his chamber music, Anno Domini 1722.

The early 1720’s were years of profound change and re-assessment for Bach. At the beginning of this decade we find him well positioned as court ‘Capellmeister’ to Prince Leopold of Anhalt-Cöthen. In a letter from Bach written in 1730, he recalls “There I had a gracious Prince, who both loved and knew music, and in his service I intended to spend the rest of my life”. The possibilities for music-making were first rate – the professional core group of instrumentalists and a few singers were of the finest caliber. Also, the demands of his office were not exhausting, leaving him time to pursue other interests. He had four young children, the two older boys, Wilhelm Friedemann and Carl Philipp aged nine and five respectively, were already showing musical promise – three other children had died as infants. When Bach left with the Prince in late May 1720 for a summer visit to Carlsbad, his life was comfortable and in good order. It is impossible for us to imagine the shock and bewilderment for Bach, only 35 years old, arriving back in Cöthen sometime during the second week of July to find his wife Maria Barbara dead and buried. There is no record of what killed her, but its speed allowed no warning or preparation in advance for Bach. This personal bombshell can only have made Bach look at his life and priorities. In the coming two years further changes may have added to Bach’s view of conditions in Cöthen. From the summer of 1721 Bach became involved with a young soprano who we find employed at the court, Anna Magdalena. They married on December 3^rdthat year. Eight days later Prince Leopold married a less-than-musically-interested 19 year-old princess, Friederica. After this Bach noticed a definite change in courtly musical attitudes. The following year, 1722, brought court money problems, Leopold’s health declined, religious fueds, and problems with his children’s schooling. All these, plus Anna Magdalena’s pregnancy, surely began to draw Bach’s attention to more secure and generous employment possibilities. The attractions of the position of Cantor at St.Thomas in Leipzig, only forty miles away, must have been more than interesting to Bach. After a long and drawn-out audition process Bach, his 21 year-old wife, and family (including the new arrival, Christiana) settled for good in Leipzig.

The emotional whirlwind of Bach’s life during these years had a deep effect on the focus of his activity. Suddenly the family became the focus of his attentions, both in reality and musically. On January 22^nd of that fateful year 1720, Bach created the Clavier-Büchlein vor Wilhelm Friedemann. What an amazing little book for the nine-year-old son to enjoy and learn his keyboard craft. Too little attention is given to the contents of this volume – it has invaluable information about keyboard approach in both fingerings and ornamentation. After three pages of simple preliminary review of musical notational marking, there follows a feast of musical treasures, including the earlier versions what later became Aufrichtige Anleitung or Inventions and Sinfonias of 1723, and preludes that found their ultimate home in The Well-tempered Clavier…1722. The other ‘family’ book, the Clavier-Büchlein for Anna Magdalena from 1722, produced early versions of the first five ‘French’ suites and the Partitas in a minor and e minor.

Although not directly dedicated to Wilhelm Friedmann, the first volume of Das Wohltemperirte Clavier would be the natural follow-up volume for his now prodigiously gifted 12 year-old. The title of this work alone continues to raise discussion and sets temperatures at a high level in musicological circles, as it throws up two very specific questions: what is the meaning of ‘Wohltemperirte’ and which ‘Clavier’ should we use for this music. Quite honestly I see little problem myself. The concept and tuning of an ‘equal’ tempered system were fully understood and known well before Bach’s time. Bach clearly called his book ‘well’-tempered, not ‘equal’-tempered. It is amazing to me that hugely respected musical reference publications can in 2007 still describe this collection in the following way: “Presumably Bach brought [the Preludes and Fugues] together for convenience, partly to serve as the last step in his keyboard course, partly to exhibit the advantages of equal temperament.” The search as to which ‘unequal’ system Bach had in mind was something of a ‘holy grail’ until Bradley Lehman ‘decoded’ the ‘decoration’ that adorns the title page. His conclusions have now been thrown around the Internet and hugely debated, resulting in the seemingly inevitable opposing camps of believers and non-believers. I am a believer. The tuning system’s simplicity and brilliance lends an amazing yet perfectly balanced set of colours to each of the keys within the cycle – the world’s first musical cycle to climb steadily through all the keys, major and minor.

The word ‘Clavier’ itself is non-specific. It can refer to pretty much any ‘keyboard’ instrument. There are certainly many preludes which exhibit very ‘clavichord’-friendly qualities, and any of the fugues would be perfectly acceptable on the organ. Conversely, organ renderings of certain preludes are not out of the question, and the gentler fugues have a transparency on harpsichord that would be difficult to translate to the organ. It seems to me therefore that the message of the music is the most important matter. For myself I prefer to present this amazing musical collection on harpsichord. Although not as intrinsically expressive as the Organ or Clavichord, it forces the player to listen and express to the best of their ability.

This magical book of preludes and fugues represents the final stage in the refocusing of Bach’s life on his family and future, and particularly on his role as ‘teacher’. Both with his sons and other pupils, after a basic knowledge of signs, scripting and musical grammar learned by copying music, Bach continued with practical examples for furthering both musical and physical technique. Carl Philipp tells us that “in composition he started his pupils right in with what was practical…,” having to “begin their studies by learning pure four-part thorough bass…In teaching fugues he began with two-part ones, and so on…As for the invention of ideas, he required this from the very beginning.” A fascinating and important conformation of this teaching process, a real inside account of Bach’s lessons, comes from Heinrich Gerber (born 1702), who studied in Leipzig from 1724-7. These reports were related to Heinrich’s son Ernst and published by him in Leipzig in 1790. We find that “Bach accepted him with particular kindness….At the first lesson he set his Inventions before him….there followed a series of Suites, then the Well-tempered Clavier.”

There are so many analyses and technical descriptions of the nuts-and-bolts that make up this amazing book. It is, of course, essential to know the structures, both small and large, within such a monument. It can only help, for example, to take note, at which points in the whole Bach places the ‘old-style’, 5-voice fugues, or the lonely (but attitude driven) 2-voice fugue. So are the tiny seeds and figures that connect preludes to their fugues – the final flourish of the c minor prelude has the musical DNA of the opening of its fugue. I will spare the reader from any more of this, and rather focus attention on the personal nature of this music – its varied and wide-ranging emotional world through which the player and listener are taken during their journey. The distance covered from the calm harmonic purity and textural simplicity of the first prelude, to the craggy, bleak brooding world of the final chromatically charged and unstable fugue is immense.

This work is unmistakably intended as a single journey. In that respect it connects with Bach’s later single great cycle – The Goldberg’ Variations. The journeys serve very different purposes and take entirely different roads. Based within a single tonality, the “Goldbergs” exhaustively explore a path around a single country, the traveler ending up where he began, although somehow totally changed. The Well-tempered Clavier is a much more comprehensive road, long reaching and through all possible landscapes – ending with little sense of resolution. With this work, perhaps the only resolution is to begin the journey again for further “particular diversion” and instruction. Ernst Gerber’s reporting also makes two things very clear: the special nature of Das Wohltemperirte Clavier for Bach as a hands-on teacher, and its conception and presentation as a single work. The younger Gerber writes:

“This work Bach played altogether three times through to him with his unmatchable art, and my father counted these among his happiest hours, when Bach, under the pretext of not feeling in the mood to teach, sat himself at one of his fine instruments and thus turned the hours into minutes. What a supreme lesson that must have been.

Mr. Egarr will perform:

Das wohltemperierte Clavier, BWV 846-869

(‘The well-tempered clavier’, Book 1)

J. S. Bach (1685 – 1750)

Prelude I BWV 846, in C major & Fugue I BWV 846, in C major

Prelude II BWV 847, in C minor & Fugue II BWV 847, in C minor

Prelude III BWV 848, in C-sharp major & Fugue III BWV 848, in C-sharp major

Prelude IV BWV 849, in C-sharp minor & Fugue IV BWV 849, in C-sharp minor

Prelude V BWV 850, in D major & Fugue V BWV 850, in D major

Prelude VI BWV 851, in D minor & Fugue VI BWV 851, in D minor

Prelude VII BWV 852, in E-flat major & Fugue VII BWV 852, in E-flat major

Prelude VIII BWV 853, in E-flat minor & Fugue VIII BWV 853, in D-sharp minor

Prelude IX BWV 854, in E major & Fugue IX BWV 854, in E major

Prelude X BWV 855, in E minor & Fugue X BWV 855, in E minor

Prelude XI BWV 856, in F major & Fugue XI BWV 856, in F major

Prelude XII BWV 857, in F minor & Fugue XII BWV 857, in F minor

INTERMISSION

Prelude XIII BWV 858, in F-sharp major & Fugue XIII BWV 858, in F-sharp major

Prelude XIV BWV 859, in F-sharp minor & Fugue XIV BWV 859, in F-sharp minor

Prelude XV BWV 860, in G major & Fugue XV BWV 860, in G major

Prelude XVI BWV 861, in G minor & Fugue XVI BWV 861, in G minor

Prelude XVII BWV 862, in A-flat major & Fugue XVII BWV 862, in A-flat major

Prelude XVIII BWV 863, in G-sharp minor & Fugue XVIII BWV 863, in G-sharp minor

Prelude XIX BWV 864, in A major & Fugue XIX BWV 864, in A major

Prelude XX BWV 865, in A minor & Fugue XX BWV 865, in A minor

Prelude XXI BWV 866, in B-flat major & Fugue XXI BWV 866, in B-flat major

Prelude XXII BWV 867, in B-flat minor & Fugue XXII BWV 867, in B-flat minor

Prelude XXIII BWV 868, in B major & Fugue XXIII BWV 868, in B major

Prelude XXIV BWV 869, in B minor & Fugue XXIV BWV 869, in B minor

Richard Egarr appears by arrangement with David Rowe Artists

www.davidroweartists.com

Richard Egarr records for Harmonia Mundi USA.

Harpsichord used in this performance – Flemish double based on an instrument by Ruckers (early 17^th century) by Gerald Self of San Antonio, 2005

Newsletter 6 November 2008

Webmaster — Thu, 06 Nov 2008 17:18:52 +0000

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Houston Early Music

In this newsletter:

Next concert and program notes

Tue., Nov. 11, 2008, 7:30PM
RICHARD EGARR, Harpsichord
J.S. BACH’S WELL-TEMPERED KLAVIER, BOOK 1
First Unitarian Universalist Church
5200 Fannin

See Program Notes and more information on the concert

HARPSICHORDIST RICHARD EGARR PERFORMS J.S. BACH’S WELL-TEMPERED KLAVIER, BOOK I

Houston Early Music will present internationally-renowned harpsichordist Richard Egarr in a performance of Book I of J.S. Bach’s Well-Tempered Klavier using what is now widely believed to be the composer’s own tuning system. While there is still vigorous debate as to what Bach actually meant by “well tempered,” Egarr believes the master indicated the tuning he preferred in what would appear at first glance to be a decorative figure at the top of the title page. Using this system Egarr takes his audiences with him on a journey through the monumental collection – from the calm harmonic purity of the first prelude to the final craggy, chromatically charged fugue.

The performance will be 7:30PM, Tuesday, November 11 at First Unitarian Universalist Church, 5200 Fannin. Egarr will give a preconcert talk at 6:45PM.

Egarr, acclaimed Music Director of the Academy of Ancient Music, is one of the most versatile musicians performing today. He has worked with all types of keyboards and performed repertoire ranging from fifteenth-century organ works through Dussek and Chopin on early piano to Berg and Maxwell Davies on modern piano. He is in great demand as a soloist, chamber musician and conductor. Dubbed “the Bernstein of early music” (NPR) for his extraordinary charisma and outstanding ability to communicate with his audience, Egarr is noted for his close study and quest for historical authenticity.

Tickets are $30 for general admission, $25 for seniors, $10 for students, under 15 free. Tickets may be purchased at the door or by calling 713-432-1744.

Harpsichord used in this performance – Flemish double based on an instrument by Ruckers (early 17th century) by Gerald Self of San Antonio.

Our full season schedule is at http://www.houstonearlymusic.org/front/season

Contact

Houston Early Music
P.O. Box 271193
Houston TX 77277-1193
Phone 713-432-1744
email info@HoustonEarlyMusic.org
Web http://www.HoustonEarlyMusic.org

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance and the Texas Commission on the Arts.

Houston Early Music News, 3 October 2008

Webmaster — Fri, 03 Oct 2008 21:45:47 +0000

If you have difficulty reading this in email, please see our web site
http://www.houstonearlymusic.org/archives/category/newsletter

Please share this email with friends who may be interested in our programs.

Houston Early Music

In this newsletter:

Next concert

Tue., Nov. 11, 2008, 7:30PM
RICHARD EGARR, Harpsichord
J.S. BACH’S WELL-TEMPERED KLAVIER, BOOK 1
First Unitarian Universalist Church
5200 Fannin

Click for updates and information on the concert

Dubbed “The Bernstein of early music” (NPR) for his extraordinary charisma and outstanding ability to communicate with his audience, Egarr will perform from J.S. Bach’s monumental collection of preludes and fugues.

Tickets are $30 for general admission, $25 for seniors, $10 for students, under 15 free. Tickets may be purchased at the door or by calling 713-432-1744.

The full season schedule is at http://www.houstonearlymusic.org/front/season

Contact

Houston Early Music
P.O. Box 271193
Houston TX 77277-1193
Phone 713-432-1744
email info@HoustonEarlyMusic.org
Web http://www.HoustonEarlyMusic.org

Houston Early Music is funded in part by grants from the City of Houston through the Houston Arts Alliance.

Zachary Carrettin 26 January

Webmaster — Thu, 17 Jan 2008 17:31:39 +0000