2016 Events

An Early Christmas—Nationally acclaimed historical harpist Therese Honey joins TEMP’s troupe of soloists, choir and chamber orchestra to explore music and the intangible essence of Christmas from the cultural capitals of Europe from the 13th through 18th centuries. TEMP puts its unique stamp on joyful carols and lullabies from Western Europe and the British Isles, with arrangements for solo voices, small chorus, harp, violin, flute, mandolin, viols, and lute. The familiar theme of the Nativity from the shepherds’ perspective figures prominently in most early music Christmas repertoire, as does the motif of Mother and Child. We present our own arrangement of two Nativity pastorals from 1684 by Marc-Antoine Charpentier and the choral masterpiece for 8 parts, Nesciens mater, by French composer Jean Mouton. There are lively works from Spain, thoughtful, pensive works from France, and of course, a little taste of Celtic and English influences! Our popular versions of the Carol for St. Stephen’s Day and Gaudete! feature this year, as well as other Celtic favorites.

An Early Christmas—Nationally acclaimed historical harpist Therese Honey joins TEMP’s troupe of soloists, choir and chamber orchestra to explore music and the intangible essence of Christmas from the cultural capitals of Europe from the 13th through 18th centuries. TEMP puts its unique stamp on joyful carols and lullabies from Western Europe and the British Isles, with arrangements for solo voices, small chorus, harp, violin, flute, mandolin, viols, and lute. The familiar theme of the Nativity from the shepherds’ perspective figures prominently in most early music Christmas repertoire, as does the motif of Mother and Child. We present our own arrangement of two Nativity pastorals from 1684 by Marc-Antoine Charpentier and the choral masterpiece for 8 parts, Nesciens mater, by French composer Jean Mouton. There are lively works from Spain, thoughtful, pensive works from France, and of course, a little taste of Celtic and English influences! Our popular versions of the Carol for St. Stephen’s Day and Gaudete! feature this year, as well as other Celtic favorites.

An Early Christmas—Nationally acclaimed historical harpist Therese Honey joins TEMP’s troupe of soloists, choir and chamber orchestra to explore music and the intangible essence of Christmas from the cultural capitals of Europe from the 13th through 18th centuries. TEMP puts its unique stamp on joyful carols and lullabies from Western Europe and the British Isles, with arrangements for solo voices, small chorus, harp, violin, flute, mandolin, viols, and lute. The familiar theme of the Nativity from the shepherds’ perspective figures prominently in most early music Christmas repertoire, as does the motif of Mother and Child. We present our own arrangement of two Nativity pastorals from 1684 by Marc-Antoine Charpentier and the choral masterpiece for 8 parts, Nesciens mater, by French composer Jean Mouton. There are lively works from Spain, thoughtful, pensive works from France, and of course, a little taste of Celtic and English influences! Our popular versions of the Carol for St. Stephen’s Day and Gaudete! feature this year, as well as other Celtic favorites.

“Native Tongues” — Latin American early music with texts in indigenous languages. The Spanish and Portuguese conquistadores encountered a myriad of cultures upon their arrival in the New World. These indigenous peoples spoke an array of languages, and the colonizers used their knowledge of these languages in their conversion of the natives to Catholicism. Our fifth annual program of Latin American music will include a wide variety of sacred pieces from 16th- and 17th-century Spain, Mexico, Guatemala, and Bolivia, with texts in Nahuatl, Quechua, Chiquitano, Spanish, Portuguese, and Latin, including works by Gaspar Fernandes, Juan de Araújo, Antonio de Salazar, Tomás de Torrejón y Velasco, Filipe da Madre de Deus, and the ever-popular Anonymous.

“Native Tongues” — Latin American early music with texts in indigenous languages. The Spanish and Portuguese conquistadores encountered a myriad of cultures upon their arrival in the New World. These indigenous peoples spoke an array of languages, and the colonizers used their knowledge of these languages in their conversion of the natives to Catholicism. Our fifth annual program of Latin American music will include a wide variety of sacred pieces from 16th- and 17th-century Spain, Mexico, Guatemala, and Bolivia, with texts in Nahuatl, Quechua, Chiquitano, Spanish, Portuguese, and Latin, including works by Gaspar Fernandes, Juan de Araújo, Antonio de Salazar, Tomás de Torrejón y Velasco, Filipe da Madre de Deus, and the ever-popular Anonymous.

Duo Recital: Cello and Harpsichord. Fred and Christina Edelen present a Duo Recital of music for cello and harpsichord.

“Songs of the Sephardim: Love, Lament, and Loss”
Expelled from Iberia in 1492, the Sephardim created haunting music that reflected their longing for return to Iberia while adapting their traditions and music to their new homelands. Sephardic music is at once beautiful and haunting, fun and poignant. TEMP’s performances of these songs of love, jealousy, loss, and comedy are one of Austin’s not-to-be-missed events. Most of us are familiar with the effects of love and its cousins, pain and jealousy, but to hear music from the last 500 years deal with this subject in simple, yet excruciating beauty, illustrates how our emotions aren’t so very different from those of the Sephardic exiles.
TEMP’s unique and creative arrangements, soulful vocal solos, and ensemble pieces explore this music, accompanied by the exotic textures of a hybrid Medieval/Middle Eastern instrumental ensemble. The program includes some favorites from the TEMP Sephardic repertoire (La serena, La rosa enflorece, Puncha, puncha, and the erotically charged song Noches, noches) and many newly-arranged songs and dances.
International recorder player and world music specialist Nina Stern (New York) joins us for this concert, along with Bay Area’s Peter Maund, specialist in early and ethnic percussion. Houston’s Therese Honey (harp) joins oud player Josh Peters, Scott Horton, John Walters, Kit Robberson, Bruce Colson, and Stephanie Raby in the instrumental ensemble. Our singers are Gitanjali Mathur, Stephanie Prewitt, Jenifer Thyssen, Cayla Cardiff, Gil Zilkha, and Daniel Johnson.
From the passionate, tragic love songs to songs of fantasy and gaiety, this alluring musical genre will capture your imagination and captivate your heart.

“Songs of the Sephardim: Love, Lament, and Loss”
Expelled from Iberia in 1492, the Sephardim created haunting music that reflected their longing for return to Iberia while adapting their traditions and music to their new homelands. Sephardic music is at once beautiful and haunting, fun and poignant. TEMP’s performances of these songs of love, jealousy, loss, and comedy are one of Austin’s not-to-be-missed events. Most of us are familiar with the effects of love and its cousins, pain and jealousy, but to hear music from the last 500 years deal with this subject in simple, yet excruciating beauty, illustrates how our emotions aren’t so very different from those of the Sephardic exiles.
TEMP’s unique and creative arrangements, soulful vocal solos, and ensemble pieces explore this music, accompanied by the exotic textures of a hybrid Medieval/Middle Eastern instrumental ensemble. The program includes some favorites from the TEMP Sephardic repertoire (La serena, La rosa enflorece, Puncha, puncha, and the erotically charged song Noches, noches) and many newly-arranged songs and dances.
International recorder player and world music specialist Nina Stern (New York) joins us for this concert, along with Bay Area’s Peter Maund, specialist in early and ethnic percussion. Houston’s Therese Honey (harp) joins oud player Josh Peters, Scott Horton, John Walters, Kit Robberson, Bruce Colson, and Stephanie Raby in the instrumental ensemble. Our singers are Gitanjali Mathur, Stephanie Prewitt, Jenifer Thyssen, Cayla Cardiff, Gil Zilkha, and Daniel Johnson.
From the passionate, tragic love songs to songs of fantasy and gaiety, this alluring musical genre will capture your imagination and captivate your heart.

Performance and Presentation on two harpsichords. Reception 4-5, Presentation 5-6, Recital 6-?, followed by discussions and more music.

In the second half of the seventh century, human tones were predominantly strophic songs in one voice with basso continuo accompaniment or exceptionally, with tablature for baroque guitar. In this stream converge a multitude of cultural events of the time, from various social universes.
Despite its brevity, these songs are able to recreate, with an economy of surprising ways, each of the characters, plots, legends, tales, stories, properties and archetypical situations that proliferated in all genres and subgenres of poetry, novels, theater and even painting of this time.
Los Tonos Humanos emerged in 2004 as an intimate musical concept: a group aimed at small spaces and intimate public, in order to interpret with replicas of instruments and historical criteria, musical repertoire from the Middle Ages to the Spanish Baroque and colonial era, and other European repertoires. Los Tonos Humanos is composed of musicians specializing in this repertoire who have performed at events throughout México and other countries.
This group comprises three great musicians from Puebla, Mexico: Elisa Ávalos (soprano), Omar Ruiz García (Renaissance flutes), Manuel Mejía (Lute and Renaissance guitarrilla)

In the second half of the seventh century, human tones were predominantly strophic songs in one voice with basso continuo accompaniment or exceptionally, with tablature for baroque guitar. In this stream converge a multitude of cultural events of the time, from various social universes.
Despite its brevity, these songs are able to recreate, with an economy of surprising ways, each of the characters, plots, legends, tales, stories, properties and archetypical situations that proliferated in all genres and subgenres of poetry, novels, theater and even painting of this time.
Los Tonos Humanos emerged in 2004 as an intimate musical concept: a group aimed at small spaces and intimate public, in order to interpret with replicas of instruments and historical criteria, musical repertoire from the Middle Ages to the Spanish Baroque and colonial era, and other European repertoires. Los Tonos Humanos is composed of musicians specializing in this repertoire who have performed at events throughout México and other countries.
This group comprises three great musicians from Puebla, Mexico: Elisa Ávalos (soprano), Omar Ruiz García (Renaissance flutes), Manuel Mejía (Lute and Renaissance guitarrilla)

Pathways to Bach—J.S. Bach didn’t just appear out of nowhere. Dieterich Buxtehude, “the father of German musicians,” greatly influenced Bach; and before that, Buxtehude was influenced by Heinrich Schütz, the trendsetter of a German musical tradition that would last for more than two hundred years. For its opening concert of the season, Texas Early Music Project performs some of the most technically and emotionally powerful music by Buxtehude and Schütz, featuring Schütz’s Musikalische Exequien and Buxtehude’s magnificent cantata, Herzlich lieb hab ich, for chorus, soloists, and orchestra.

Pathways to Bach—J.S. Bach didn’t just appear out of nowhere. Dieterich Buxtehude, “the father of German musicians,” greatly influenced Bach; and before that, Buxtehude was influenced by Heinrich Schütz, the trendsetter of a German musical tradition that would last for more than two hundred years. For its opening concert of the season, Texas Early Music Project performs some of the most technically and emotionally powerful music by Buxtehude and Schütz, featuring Schütz’s Musikalische Exequien and Buxtehude’s magnificent cantata, Herzlich lieb hab ich, for chorus, soloists, and orchestra.

“Animal House”—a family-friendly concert featuring great Classical music celebrating our furry and feathered friends, including a performance of Saint-Saëns’s Carnival of the Animals. Special guests are Robert Faires, narrator; Maimy Fong, with Scott Donald, piano; Tim O’Brien, bass-baritone; Jenifer Thyssen and Meredith Ruduski, sopranos; Elise Winters-Huete, concertmaster; and Jeffrey-Jones Ragona, conductor. With a special (virtual) appearance by Nora the Piano Cat in the Catcerto!

Although music of the Baroque and Early Classical period is La Follia’s “bread and butter”, we occasionally enjoy presenting concerts on modern instruments which offer a wide range of repertoire based around a theme. And so it is here, where we present Baroque, Romantic, and modern music which all share a fascination with our animal friends, in a format that the whole family can enjoy.

“Animal House”—a family-friendly concert featuring great Classical music celebrating our furry and feathered friends, including a performance of Saint-Saëns’s Carnival of the Animals. Special guests are Robert Faires, narrator; Maimy Fong, with Scott Donald, piano; Tim O’Brien, bass-baritone; Jenifer Thyssen and Meredith Ruduski, sopranos; Elise Winters-Huete, concertmaster; and Jeffrey-Jones Ragona, conductor. With a special (virtual) appearance by Nora the Piano Cat in the Catcerto!

Although music of the Baroque and Early Classical period is La Follia’s “bread and butter”, we occasionally enjoy presenting concerts on modern instruments which offer a wide range of repertoire based around a theme. And so it is here, where we present Baroque, Romantic, and modern music which all share a fascination with our animal friends, in a format that the whole family can enjoy.

Baroque music at its most festive, Handel’s masterpiece was composed for King George II to accompany his fireworks to celebrate the end of a war and signing of a peace treaty.

“Paris City Limits: Chansons, Dances, and The Birds”
TEMP’s 19-voice chorus will perform large scale motets by masters such as Jean Mouton and Janequin. Lively dances by Attaignant and others feature special guest artists Mary Springfels (viola da gamba), Peter Maund (percussion), and exhilarating Breton folk music rounds out the concert (yes, Cayla Cardiff will sing that song) as TEMP explores both the rustic and the sophisticated sides of Parisian life in the 16th and 17th centuries. Our featured singers include countertenor Ryland Angel (New York), mezzo Erin Calata (Seattle), TEMP members Jenifer Thyssen, Meredith Ruduski, Cayla Cardiff, Stephanie Prewitt, Jeffrey Jones Ragona, Thann Scoggin, Gil Zilkha, and more. The instrumental ensemble features our guest artists as well as harpist Therese Honey, violinist Bruce Colson, our viol consort (Jane Leggiero, Stephanie Raby, John Walters), recorders (Susan Richter & Victor Eijkhout), and lutenist Scott Horton. Venez, y’all!

“Paris City Limits: Chansons, Dances, and The Birds”
TEMP’s 19-voice chorus will perform large scale motets by masters such as Jean Mouton and Janequin. Lively dances by Attaignant and others feature special guest artists Mary Springfels (viola da gamba), Peter Maund (percussion), and exhilarating Breton folk music rounds out the concert (yes, Cayla Cardiff will sing that song) as TEMP explores both the rustic and the sophisticated sides of Parisian life in the 16th and 17th centuries. Our featured singers include countertenor Ryland Angel (New York), mezzo Erin Calata (Seattle), TEMP members Jenifer Thyssen, Meredith Ruduski, Cayla Cardiff, Stephanie Prewitt, Jeffrey Jones Ragona, Thann Scoggin, Gil Zilkha, and more. The instrumental ensemble features our guest artists as well as harpist Therese Honey, violinist Bruce Colson, our viol consort (Jane Leggiero, Stephanie Raby, John Walters), recorders (Susan Richter & Victor Eijkhout), and lutenist Scott Horton. Venez, y’all!

Daniel Johnson, Artistic Director presents “Dutch Treat: The Golden Age in the Netherlands.” Our journey includes music by Josquin des Prez, Obrecht, and Willaert, some of the most influential Renaissance composers from the Lowlands. Our group of eighteen singers includes soloists Gitanjali Mathur, Jenifer Thyssen, Meredith Ruduski, Cayla Cardiff, Jeffrey Jones-Ragona, Thann Scoggin, and others. Special guest, Mary Springfels, leads the viol consort of Stephanie Raby, Jane Leggiero, and John Walters, along with Scott Horton (lutes), Elaine Barber (harp), Susan Richter and Victor Eijkhout (recorders).

Daniel Johnson, Artistic Director presents “Dutch Treat: The Golden Age in the Netherlands.” Our journey includes music by Josquin des Prez, Obrecht, and Willaert, some of the most influential Renaissance composers from the Lowlands. Our group of eighteen singers includes soloists Gitanjali Mathur, Jenifer Thyssen, Meredith Ruduski, Cayla Cardiff, Jeffrey Jones-Ragona, Thann Scoggin, and others. Special guest, Mary Springfels, leads the viol consort of Stephanie Raby, Jane Leggiero, and John Walters, along with Scott Horton (lutes), Elaine Barber (harp), Susan Richter and Victor Eijkhout (recorders).

Masterworks of Mozart and Haydn, using instruments and performance practices like those used during the composers’ lifetimes.
The concert features a trio of Austin “firsts”:
1. Haydn’s Trumpet Concerto performed on keyed trumpet, precursor to the modern valved trumpet, and the instrument for which Haydn wrote his famous concerto.
2. Mozart’s Jupiter Symphony, performed on classical period instruments and at Mozart’s pitch.
3. A violin concerto by the “Black Mozart”, Le Chevalier de Saint-Georges, the first classical composer of African descent, a contemporary of Mozart, and a brilliant Renaissance man.
Featured are Go Yamamoto, concertmaster and violin soloist, and Brian Shaw, keyed trumpet. They will be accompanied by La Follia’s 25 piece chamber orchestra.

Mozart’s Just Desserts

Masterworks of Mozart and Haydn, using instruments and performance practices like those used during the composers’ lifetimes.
The concert features a trio of Austin “firsts”:
1. Haydn’s Trumpet Concerto performed on keyed trumpet, precursor to the modern valved trumpet, and the instrument for which Haydn wrote his famous concerto.
2. Mozart’s Jupiter Symphony, performed on classical period instruments and at Mozart’s pitch.
3. A violin concerto by the “Black Mozart”, Le Chevalier de Saint-Georges, the first classical composer of African descent, a contemporary of Mozart, and a brilliant Renaissance man.
Featured are Go Yamamoto, concertmaster and violin soloist, and Brian Shaw, keyed trumpet. They will be accompanied by La Follia’s 25 piece chamber orchestra.

Mozart’s Just Desserts

Les goûts-réünis, part deux – Les français. Grace, elegance, and delicacy are just a few hallmarks of the music of the French Baroque. From the court of the Sun King to the salons of Paris, this highly ornamented music of French composers tickled the ears of courtiers and philosophers alike. We think you’ll agree that the unique French style has a certain on ne sait quoi that makes it unmistakably French, but despite this, French music exhibits a great deal of variety of styles and moods. You’ll experience music enjoyed by Louis XIV in his private quarters, Parisian nobility in the opera theatres of Paris, and parishioners in the cathedrals and churches of Dijon and Paris.

This concert will feature a number of ABO soloists, including Stephanie Raby (violin & viola da gamba), James Brown (viola da gamba), Eric Smith (viola da gamba & ‘cello), Elizabeth Hardy (bassoon), Billy Traylor (oboe & recorder), Marcus McGuff (flute) and Joan Carlson (violin & soprano), and we’ll welcome back soprano Julianna Emanski, who sang the title role in last season’s performance of Handel’s Esther. Featuring sacred and secular works by Marais, Lully, Charpentier, Boismortier, Rameau, and more.

Les goûts-réünis, part deux – Les français. Grace, elegance, and delicacy are just a few hallmarks of the music of the French Baroque. From the court of the Sun King to the salons of Paris, this highly ornamented music of French composers tickled the ears of courtiers and philosophers alike. We think you’ll agree that the unique French style has a certain on ne sait quoi that makes it unmistakably French, but despite this, French music exhibits a great deal of variety of styles and moods. You’ll experience music enjoyed by Louis XIV in his private quarters, Parisian nobility in the opera theatres of Paris, and parishioners in the cathedrals and churches of Dijon and Paris.

This concert will feature a number of ABO soloists, including Stephanie Raby (violin & viola da gamba), James Brown (viola da gamba), Eric Smith (viola da gamba & ‘cello), Elizabeth Hardy (bassoon), Billy Traylor (oboe & recorder), Marcus McGuff (flute) and Joan Carlson (violin & soprano), and we’ll welcome back soprano Julianna Emanski, who sang the title role in last season’s performance of Handel’s Esther. Featuring sacred and secular works by Marais, Lully, Charpentier, Boismortier, Rameau, and more.

London City Limits: Opera on the Thames.
The next stop on our Eurotour includes the stages and opera houses of 17th century London as we pay homage to Henry Purcell in a hilarious staged opera pastiche. The concert will be performed by a small period orchestra and six of TEMP’s acclaimed soloists.

The best opera tells a story that is, if not totally–or even the slightest bit–believable, is one that we connect with through the characters and the music. With this in mind, we weave a plot around music from Purcell’s The Fairy Queen, King Arthur, Dido & Aeneas, The Tempest, and some of his songs and dialogues. The concert also includes gems from his predecessors, Robert Johnson and Nicholas Lanier.

New York’s Peter Walker (baritone) and Ryland Angel (countertenor) join TEMP’s Jenifer Thyssen & Meredith Ruduski (sopranos), tenor Jeffrey Jones-Ragona, and baritone Brett Barnes for this unique production. Violinists Stephanie Raby, Bruce Colson (Austin), violist Bruce Williams, Jane Leggiero (cello), Scott Horton (theorbo), and Austin Baroque Orchestra director Billy Traylor (harpsichord) comprise the period orchestra.

As an early Valentine present, treat yourself and your sweetie(s) to the beauty of some of the most accessible opera in an intimate setting. We’ll tell a story that will make you laugh and put a smile in your heart. Purcell! Love! Fairies! Will there be a happy ending?

London City Limits: Opera on the Thames.
The next stop on our Eurotour includes the stages and opera houses of 17th century London as we pay homage to Henry Purcell in a hilarious staged opera pastiche. The concert will be performed by a small period orchestra and six of TEMP’s acclaimed soloists.

The best opera tells a story that is, if not totally–or even the slightest bit–believable, is one that we connect with through the characters and the music. With this in mind, we weave a plot around music from Purcell’s The Fairy Queen, King Arthur, Dido & Aeneas, The Tempest, and some of his songs and dialogues. The concert also includes gems from his predecessors, Robert Johnson and Nicholas Lanier.

New York’s Peter Walker (baritone) and Ryland Angel (countertenor) join TEMP’s Jenifer Thyssen & Meredith Ruduski (sopranos), tenor Jeffrey Jones-Ragona, and baritone Brett Barnes for this unique production. Violinists Stephanie Raby, Bruce Colson (Austin), violist Bruce Williams, Jane Leggiero (cello), Scott Horton (theorbo), and Austin Baroque Orchestra director Billy Traylor (harpsichord) comprise the period orchestra.

As an early Valentine present, treat yourself and your sweetie(s) to the beauty of some of the most accessible opera in an intimate setting. We’ll tell a story that will make you laugh and put a smile in your heart. Purcell! Love! Fairies! Will there be a happy ending?

Fred Edelen, cello
Christina Edelen, fortepiano
Works by Stephen Paxton, Haydn, Schubert.

An 18-voice choral ensemble sings an Evensong of music from the Renaissance. Composers include Henry Purcell, Ludwig Senft, Josquin des Prez and Cristobal de Morales. Come and be transported musically and spiritually. A reception follows at 5 p.m.

Ms. Podger concludes her week long residency in concert with the UTSA Chamber Orchestra. The afternoon program will include Purcell’s The Fairy Queen, Bach’s Violin Concerto in A minor, Telemann’s Concerto for Flute and Violin in E minor with rita Linard on flute and Vivaldi’s “Summer” and “Winter” from The Four Seasons.

Rachel Podger will conduct two master classes with UTSA music students. Each student will perform a movement from one of J.S. Bach’s unaccompanied string pieces.

Violinist Rachel Podger and UTSA faculty member, Stacey Davis will lecture on Performing Solo Bach: Analysis, Expression, and Creativity. The lecture is sponsored by the UTSA Institute for Music Reasearch’s Donald Hodges Lecture Series.

Following the lecture, Ms. Podger will perform Bach’s Partita No. 1 in B minor and the Sonata No. 1 in G minor.

Rachel Podger will present her first solo violin recital as guest resident in the UTSA Music Department. Ms. Podger will perform Biber’s Passacaglia in G minor from Mystery Sonatas and Bach’s Partita No. 2 in D minor.

http://music.utsa.edu/index.php/embeds/event/podger-residency-improvisation-workshop

Rachel Podger will conduct two master classes with UTSA music students. Each student will perform a movement from one of J.S. Bach’s unaccompanied string pieces.

As part of her week long guest residency, Rachel Podger will present a Baroque performance practice lecture.