Hi Bill, I don't normally do cross-postings, so I hope nobody objects to this one. I'd strongly encourage anybody who can make it to go to this event (I certainly intend to try and get there). John is a fabulous player and one of the kindest and funniest chaps that I've had the pleasure of supporting over many years. Even if you're not a classical music type this won't be a waste of your time as I've been to one of John's recitals before and he's good at giving interesting and informative information about what he's about to play. Best wishes. Tim Burgess Raised Bar Ltd Phone: +44 (0)1827 719822 Don't forget to vote for improved access to music and music technology at http://www.raisedbar.net/petition.htm -----Original Message----- From: Dancing Dots [mailto:BillList1@xxxxxxxxxxx] Sent: 08 November 2010 19:42 To: info@xxxxxxxxxxxxxxx Subject: [BrailleM] Special Friend of Dancing Dots Performs at Greenwich International Ea Our friend, Professor John Henry of Trinity College of Music, London, will give a concert this Saturday, Nov. 13. See details below. We at Dancing Dots are honored that Professor Henry has used our GOODFEEL technology for many years now to quickly learn the vast amounts of the harpsichord repertoire which he must both perform and teach. Anyone who can attend this concert is in for a genuine treat. Congratulations and best wishes to you, John! ... [draft programme] Greenwich International Early Music Festival St Alfege Church Greenwich 13th November 2010 Bach Family Music for Two Keyboards Steven Devine, Fortepiano John Henry, Harpsichord Programme C P E Bach Fantasia in C, WQ61-6 J S Bach Concerto in C BWV1061 (Allegro) Adagio Fuga W F Bach Polonaises FK 12 Polonaise no 1 in C Polonaise no 8 in E minor Polonaise no 3 in D W F Bach Concerto a Due Cembali in F, FK44 Allegro Moderato Andante Presto John Henry For almost 40 years John Henry has been widely acclaimed for both his live and recorded performances in this country and in the US. Of one concert The Times praised his playing 'first and foremost for the romantic feeling behind it, and the imaginative registration and fastidious ornamentation through which he made the music speak'. Of an early introduced recital Music and Musicians wrote: 'As a good-humoured, informative and entertaining presenter of a programme, he has no peer,' and reviewing one of his CDs, Gramophone commented on his 'passionate involvement in the music and his fertile imagination'. While perhaps best known for his interpretations of French harpsichord music, he performs from an extensive repertoire on other keyboard instruments, giving introduced recitals on harpsichord, clavichord and fortepiano, including recent concerts on a range of historic instruments at the Royal College of Music Instrument Museum. John Henry regularly conducts masterclasses and delivers lectures on a wide range of subjects for schools, colleges and universities. Before joining the staff at Trinity in 1990, he was Visiting Senior Research Fellow in Music at Westfield College, University of London. At Trinity, as well as being Harpsichord Professor, he continues his pioneering course of lectures on Baroque and Classical Performance Practice for pianists. For the season 2010-11, John Henry has plans for further broadcasting as well as continuing projects for experimental performances of Baroque repertoire for two keyboards and solo recitals and masterclasses in the UK and Ireland. Programme Note The relatively small number of works written in the 17th and 18th centuries for two keyboards is amply compensated for by the sheer quality of the music. From Tomkins to Mozart, this repertoire holds many gems, not least the two works we are performing in this concert. It is curious that each is entitled 'Concerto'. Although each has three movements as typical for the title, they share precious few similarities either in form or style. The Concerto by J S is a masterpiece of joyous independent writing for each part, whereas the one by W F is so perfectly interwoven between parts that each makes little impression on its own. Also, though it is fair to say that the melodic manipulations of W F certainly show the influence of his father's tutilege, it is also rather striking that the more 'whistlable' melodies themselves, and the structure which enframes them, look forward more to the Classical than backward to the Baroque period. Although both these works were written for two harpsichords, we hope that you will enjoy the results of our decision to subsitute a fortepiano for the second harpsichord. After all, J S Bach apparently became a late convert to it, and it is also rather intriguing to hear the 'family resemblances' in timbre as well as the more obvious differences in expressive colours. 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