Past Events

“Tell Me A Story”
La Follia string ensemble performs music that tells a story. Featured are Stephen Redfield, violin, in Vivaldi’s “Winter” from the Four Seasons; Stephanie Raby, gamba, and Valerie Chaussonet, narrator, in Marais’s “Gall Bladder Operation”; and Keith Womer, harpsichord, in Bach’s “Capriccio on the departure of a dear brother.”
Telemann – Ouverture-Suite “Burlesque de Quixotte” (The story of Don Quixote)
Bach – Capriccio sopra la lontanza del suo fratello dilettissimo (Capriccio on the departure of a dear brother)
L. Mozart – Die Schlittenfahrt (“The sleigh ride”)
Biber – Battalia à 10 in D-Major c 61 (A musical depiction of a battle)
Marais – Suite en mi mineur (“The gall bladder operation”)
Vivaldi – Le Quattro stagioni (The Four Seasons): “L’Inverno (Winter)”

“Tell Me A Story”
La Follia string ensemble performs music that tells a story. Featured are Stephen Redfield, violin, in Vivaldi’s “Winter” from the Four Seasons; Stephanie Raby, gamba, and Valerie Chaussonet, narrator, in Marais’s “Gall Bladder Operation”; and Keith Womer, harpsichord, in Bach’s “Capriccio on the departure of a dear brother.”
Telemann – Ouverture-Suite “Burlesque de Quixotte” (The story of Don Quixote)
Bach – Capriccio sopra la lontanza del suo fratello dilettissimo (Capriccio on the departure of a dear brother)
L. Mozart – Die Schlittenfahrt (“The sleigh ride”)
Biber – Battalia à 10 in D-Major c 61 (A musical depiction of a battle)
Marais – Suite en mi mineur (“The gall bladder operation”)
Vivaldi – Le Quattro stagioni (The Four Seasons): “L’Inverno (Winter)”

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)