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Music City Baroque presents chamber music at historic Church of the Holy Trinity

Nashville's professional ensemble for historically informed performance
Nashville's professional ensemble for historically informed performance
Music City Baroque

If you're a lover of Baroque music, particularly by Bach and Handel, then you'll be happy to know about Music City Baroque's concert on Sunday, February 26, at 3 PM.

Nashville's "Professional Ensemble for Historically Informed Performance" will present another of its programs where not only the music, but the instruments themselves are featured. From the harpsichord to the theorbo, (a type of bass lute), the music will be played on replicas of instruments that were actually used in the 17th and 18th centuries, when the pieces were composed.

And while it would be very hard to find a church in Nashville dating from that era, The Church of the Holy Trinity, where the performance will take place, has a rich history of its own, having been built in the pre-Civil War era. The church's Gothic architecture and sublime acoustics are perfectly matched to the occasion.

Music City Baroque, founded in 2004, has become one of the city's most cherished musical institutions. Here is a review of their most recent concert, from the prestigious ArtNowNashville site.

Sunday, February 26, 3:00 PM
Holy Trinity Episcopal Church
615 Sixth Avenue South
Nashville, TN

TICKETS: Tickets are available at the door: $10 ($5 students and seniors)
For more information, call George Riordan at 850-264-9293
or e-mail

PROGRAM: “Chamber Music at Holy Trinity”
Johann Sebastian Bach: Trio Sonata from the Musical Offering, BWV 1079, for flute, violin and continuo (Sonata sopr'il Soggetto Reale)
George Friedric Handel: Trio Sonata IV in F for oboe, violin and continuo
George Friedric Handel: Suite for Harpsichord in E Major “The Harmonious Blacksmith,” HWV 430
Jean-Marie Leclair: Dances from Première Récréation de Musique, Op. 6, for two violins and continuo
Biagio Marini: Sonata quarta “per sonar con due corde,” Op. 8 (1629)


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