Calendar of Events

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.

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)