Trevor Pinnock

In this article, we will delve into the fascinating world of Trevor Pinnock. We will explore its origins, its evolution over time and its impact on different aspects of daily life. Trevor Pinnock has been the subject of study and debate for many years, and its relevance is still evident in today's world. Through this article, we aim to shed light on Trevor Pinnock, analyzing its importance and influence in today's society. Join us on this journey to discover more about Trevor Pinnock and its role in the contemporary world.

Pinnock in December 2006

Trevor David Pinnock CBE (born 16 December 1946 in Canterbury, England) is a British harpsichordist and conductor.

He is best known for his association with the period-performance orchestra The English Concert, which he helped found and directed from the keyboard for over 30 years in baroque and classical music. He is a former artistic director of Canada's National Arts Centre Orchestra and founded The Classical Band in New York.

Since his resignation from The English Concert in 2003, Pinnock has continued his career as a conductor, appearing with major orchestras and opera companies around the world. He has also performed and recorded as a harpsichordist in solo and chamber music and conducted and otherwise trained student groups at conservatoires. Trevor Pinnock won a Gramophone Award for his recording of Bach's Brandenburg Concertos with the European Brandenburg Ensemble, an occasional orchestra formed to mark his 60th birthday.

Biography and career

Early life

Trevor Pinnock was born in Canterbury, where his grandfather had run a Salvation Army band. His father was Kenneth Alfred Thomas Pinnock, a publisher, and his mother, Joyce Edith, née Muggleton, was an amateur singer.[1][2] In Canterbury, the Pinnock family lived near the pianist Ronald Smith, from whose sister Pinnock had piano lessons. He became a chorister at Canterbury Cathedral when he was seven, attending the choir school from 1956 to 1961 and subsequently Simon Langton Grammar School for Boys.[1][3] After receiving instruction in piano and organ, he served as a church organist; by the time he was 15, he began to play the harpsichord.[2] At age 19, he won a Foundation Scholarship to the Royal College of Music to study organ and he also studied harpsichord, winning prizes for performance on both instruments.[1][4] His teachers were Ralph Downes and Millicent Silver.[5] A strong early influence was Gustav Leonhardt, though he did not study with him.[4]

Instrumentalist

As a harpsichordist, Pinnock toured Europe with the Academy of St. Martin in the Fields.[6] While a student at the RCM, he was told by the registrar, John Stainer, that it would be impossible to make a living as a harpsichordist.[4] He made his London debut at the Royal Festival Hall in 1966 with the Galliard Harpsichord Trio, which he co-founded with Stephen Preston, flute, and Anthony Pleeth, cello. At this stage, they were playing baroque music on modern instruments.[4] His solo harpsichord debut was in 1968 at the Purcell Room in London.[7]

To maximise his possibilities for work early on in his career, he included in his repertoire not only the regular baroque repertoire, but also modern harpsichord concertos, including Roberto Gerhard's concerto for harpsichord, percussion and strings, Manuel de Falla's concerto for harpsichord, Frank Martin's Petite symphonie concertante for harp, harpsichord, piano and double string orchestra and Francis Poulenc's Concert Champêtre.[5][8] Pinnock and Maxim Vengerov toured together in 2000, with Vengerov taking up the baroque violin for the first time and Pinnock taking up the modern grand piano. These concerts consisted of a first half of harpsichord and baroque violin, followed by a second half of piano and modern violin.[9][10]

The English Concert

In November 1972 the Galliard Trio expanded to become The English Concert, an orchestra specialising in performances of baroque and classical music on period instruments.[4][11] The orchestra initially started with seven members but soon grew in size. The decision to move to period performance was taken for a number of reasons:[12]

What I really had in mind was a journey of discovery into the unknown. Although I felt there were excellent interpretations of baroque music performed on modern instruments, I sensed that we'd come to the end of the road – and yet I knew that there were still discoveries to be made. I was thinking about the interesting experiments made by Nikolaus Harnoncourt and Gustav Leonhardt, although I knew we'd have to experiment in our own way. It was a huge challenge; playing period instruments wasn't as easy as it is today, and finding out their secrets was a difficult process. Nowadays an extraordinarily high technical level has been achieved and the upcoming generations don't have any of the problems we pioneers faced. We cleared the way.

Pinnock at the harpsichord

Pinnock was at the forefront of the period performance movement and the revitalisation of the baroque repertoire; the reaction of Leonard Bernstein to his performances is typical: "In my opinion, the work of the conductor Trevor Pinnock in this area is particularly exciting – his performances of Bach and Handel make me jump out of my seat!"[13]

The English Concert's London debut was at the English Bach Festival in 1973.[14] In 1975, Pinnock played the harpsichord in the first-ever performance of Rameau's last opera, Les Boréades, under John Eliot Gardiner.[15] He toured North America with The English Concert for the first time in 1983; he had earlier spent two periods as Artist in Residence at Washington University in St. Louis.[5] His debut at The Proms was in 1980; he later directed Handel's oratorio Solomon in 1986 and many other large-scale works with his orchestra.[6] They toured worldwide and made numerous recordings, Pinnock directing "with a characteristic energy and enthusiasm which are readily communicated to audiences."[14] The Choir of the English Concert was at first an ad-hoc group of singers assembled as needed, originally in 1983 for the first 20th-century performance of Rameau's Acante et Céphise; it became an established choir for a period from the mid-1990s at the time they were performing Bach's Mass in B minor. This allowed the ensemble to regularly perform baroque operas, oratorios and other vocal works; a series of Bach's major choral works followed.[16]

He directed The English Concert, usually from the harpsichord or chamber organ,[17] for over 30 years, deciding, with the other orchestra members, to hand it over to violinist Andrew Manze in 2003.[12][18] He explained the decision as follows:[19]

There are other things I want to develop – or rather come back to. Having done The English Concert for 18–20 weeks per year, and guest conducting the rest of the time, I'd sacrificed playing the harpsichord rather more than I wanted to. I had to make a decision to move forward: there were certain solo projects I wanted to do, and I wanted to make the decision now rather than wait until after I am 60 and it's too late to do half of them. There's a wealth of keyboard repertoire I want to revisit. I especially want to go back to the rich English repertoire such as Tomkins, Byrd, Bull and Gibbons.

Other conducting projects

In 1989 Pinnock founded The Classical Band in New York, signing an 18-disc recording contract with Deutsche Grammophon before the ensemble's first rehearsal.[20] He led the group in performances of the classical and romantic repertoire from Haydn to Mendelssohn on period instruments, including playing as fortepiano soloist.[21] After a disappointing series of concerts, he resigned in 1990 and was succeeded by Bruno Weil.[22]

From 1991 to 1996 he was artistic director and principal conductor of the National Arts Centre Orchestra in Ottawa, a group he had first directed in 1985.[23] He subsequently served as its artistic advisor during the 1996–1997 and 1997–1998 seasons, including a tour of the US with the performance and recording of Beethoven's 1st and 5th piano concertos with Grigory Sokolov as soloist.[24] He has made occasional return visits to the orchestra since relinquishing his formal position with them.[23]

Guest conducting

He has appeared frequently as a guest conductor with many of the world's leading orchestras, including the Boston, City of Birmingham, San Francisco and Detroit symphony orchestras, the Saint Paul, Los Angeles and Mito[25] chamber orchestras, the Freiburger Barockorchester, Philharmonia Baroque Orchestra,[26] Mozarteum Orchestra of Salzburg, Berlin Philharmoniker, Vienna Philharmonic Orchestra, Austro-Hungarian Haydn Orchestra, the Chicago Symphony Orchestra and London Philharmonic Orchestra and at the Tanglewood, Mostly Mozart and Salzburg festivals.[14][27] He is a regular guest conductor of the Leipzig Gewandhaus Orchestra and Deutsche Kammerphilharmonie[28]

He made his Metropolitan Opera debut in 1988 conducting Handel's opera Giulio Cesare, the same year he made his debut at the Salzburg Festival with Handel's Messiah.[1][6] He conducted Opera Australia and Michael Chance in Handel's Rinaldo at the Sydney Opera House in 2005.[29] He also played William Babell's virtuoso harpsichord transcriptions with some of the arias (which Babell claimed were of Handel's actual improvisations).[30]

Recent years

Pinnock directs the European Brandenburg Ensemble.

Since resigning his position with The English Concert, Pinnock has divided his time between performing as a harpsichordist and conducting both modern- and period-instrument orchestras. He has also taken an interest in educational projects.[27]

In 2004 he commissioned modern harpsichord music by English composer John Webb, whose Surge (2004) "is built up over an implacable rhythmic repeat-figure. Though neither is explicitly tonal, each skilfully avoids the merely percussive effect that the harpsichord's complex overtones can all too easily impart to more densely dissonant music."[31] He has also played the same composer's Ebb (2000), which "comprises a spasmodic discourse against a manic background of descending scale patterns like a kind of out-of-kilter change-ringing".[31]

He toured Europe and the Far East in 2007 with the European Brandenburg Ensemble, a baroque orchestra, formed to mark his 60th birthday by recording Bach's Brandenburg Concertos and performing popular baroque music.[32][33][34] Its recording of the concertos won the Gramophone Award for Baroque Instrumental in 2008.[35] The band was not a permanent orchestra, but planned to reconvene in 2011 when Bach's St John Passion was to be the focus of their work.[36]

Pinnock's educational work takes place both in the United Kingdom and elsewhere. It includes being principal guest conductor of the Royal Academy of Music's Concert Orchestra,[37] taking masterclasses or workshops at other British universities,[38] and conducting the orchestras of such establishments as Mozarteum University of Salzburg and The Hong Kong Academy for Performing Arts.[27] He has also taught a handful of harpsichordists including Lars Ulrik Mortensen, Nicholas Parle, Carole Cerasi and Julian Perkins.

Degrees, honours and awards

Pinnock gained ARCM Hons (organ) (1965), FRCM (1996), and Hon. FRAM (1988).[7] His honorary doctorates include those from the University of Ottawa (D. University) in 1993,[39] the University of Kent (DMus) in 1995,[40] and the University of Sheffield (DMus) in 2005.[41]

He was appointed a Commander of the Order of the British Empire in 1992 and an Officier of the French Ordre des Arts et des Lettres in 1998.[1]

Pinnock received three nominations for Grammy Awards for his recordings of Handel's Coronation Anthems (1984), Vivaldi's Gloria and Alessandro Scarlatti's Dixit Dominus (1989) and Handel's Messiah (1990).[42]

Recordings

Each original release is listed. Years are those of recording.[43]

Solo harpsichord

By composer

  • J. S. Bach: toccatas 910 & 912, prelude and fugue in A minor BWV 894, fantasia in C minor BWV 906, Chromatic Fantasia and Fugue BWV 903 (1978)
  • J. S. Bach: toccatas 911, 913–916 (1977)
  • J. S. Bach: Partitas for harpsichord BWV 825–830 (1985)
  • J. S. Bach: Partitas for harpsichord BWV 825–830, Hänssler Classic (1998–1999)
  • J. S. Bach: Goldberg Variations BWV 988 (1980)
  • J. S. Bach: Italian Concerto BWV 971, concerto after Vivaldi (op.3 no.9) BWV 972 and French Overture BWV 831 (1979)
  • J. S. Bach: French suite no.5 BWV 816, English suite no.3 BWV 808, chromatic fantasia and fugue BWV 903 and preludes and fugues BWV 846, 876, 881 from The Well-Tempered Clavier (1992)
  • J. S. Bach: The Well-Tempered Clavier I, DG (2020)
  • J. S. Bach: The Well-Tempered Clavier II, DG (2022)
  • Handel: harpsichord suites and chaconne HWV 434, 441, 436, 438, 435 (1983)
  • Rameau: Complete harpsichord works, CRD records (1988)
  • Rameau: Les Cyclopes (Suites in A minor and E minor), Avie records (2005)
  • Scarlatti: Sonatas Kk. 46, 87, 95, 99, 124, 201, 204a, 490, 491, 492, 513, 520, 521, CRD (1981)
  • Scarlatti: Sonatas Kk. 460, 461, 478, 479, 502, 516, 517, 518, 519, 529, 544, 545, 546, 547 (1986)

Collections

Harpsichord concertos

Chamber music

Orchestral works with The English Concert

Trevor Pinnock generally directs while playing harpsichord continuo. Recordings on Archiv Produktion unless otherwise indicated.[59]

By composer

Collections

  • Christmas Concertos[70] (1988)
  • Pachelbel: Canon and Gigue[71] (1985)
  • A Grand Concert of Musick: English Baroque Concertos[72] (1979)
  • Christmas in Rome: Vivaldi: Gloria; Corelli: Christmas Concerto; A. Scarlatti: O di Betlemme altera povertà (on video and CD) (1992)
  • Opera Arias by Mozart, Haydn and Gluck (Anne-Sofie von Otter, mezzo-soprano) (1995)
  • Oboe Concertos: C. P. E. Bach, Wq.165; Lebrun, no.1; Mozart, K.314. (Paul Goodwin, oboe) (1991)

Conducting

Notes and references

  1. ^ a b c d e Pinnock, Trevor David (April 2007). Zöe Gullen; Daniel Sefton (eds.). Debrett's People of Today. Debrett's Peerage Ltd. ISBN 978-1-870520-26-3.
  2. ^ a b Cosic, Miriam (21 July 2005). "Born to the baroque". The Australian. Retrieved 14 April 2007.
  3. ^ Page, Anne Of Choristers, ancient and modern, Canterbury, St Edmund’s Junior School Archived 14 May 2007 at the Wayback Machine. Retrieved 16 February 2010.
  4. ^ a b c d e Owen Norris, David (August 2000). "Direct, blazing simplicity". Gramophone: 15. Retrieved 15 February 2010.[permanent dead link‍]
  5. ^ a b c Noted in the biography in the liner notes of his recording 16th Century English Keyboard Music, CRD records.
  6. ^ a b c Pinnock, Trevor (March 2005). Hutchinson Encyclopedia of Britain. Helicon Publishing. ISBN 1-85986-275-6.
  7. ^ a b Pinnock, Trevor (January 2007). Who's Who. A & C Black. ISBN 978-0-7136-7527-6.
  8. ^ Richmond, Jonathan (3 December 1991). "Sparkling performance of wotty Poulenc by Pinnock". The Tech. Vol. 111, no. 55. Archived from the original on 9 August 2020. Retrieved 8 May 2009. – He performed and recorded the Concert Champêtre in 1991.
  9. ^ Sidgwick, John (29 March 2000). "Maxim Vengerov: Baroque Violinist". Culturekiosque Klassiknet. Archived from the original on 6 July 2000. Retrieved 26 April 2007.
  10. ^ Service, Tom (16 February 2000). "Baroque adventure". The Guardian. Retrieved 26 April 2007.
  11. ^ The Academy of Ancient Music was founded by fellow English harpsichordist-conductor Christopher Hogwood at around the same time.
  12. ^ a b Marceau, Guy (9 September 2004). "Trevor Pinnock – Autumn Thoughts". La Scena Musicale. Vol. 10, no. 1. "When the members of the English Concert were looking for a new conductor and artistic director, they decided on Andrew Manze, and I think they made a good choice. But it was their decision."
  13. ^ Cott, Jonathan (1 April 2003). Back to a Shadow in the Night: Music Journalism and Writings: 1968–2001 (1st ed.). Hal Leonard. p. 207. ISBN 0-634-03596-7.
  14. ^ a b c Pratt, George (2001). L. Macy (ed.). "Pinnock, Trevor". Grove Music Online. doi:10.1093/gmo/9781561592630.article.43632. ISBN 978-1-56159-263-0. Retrieved 1 May 2007.
  15. ^ Donington, Robert (1975). "Rameau's Les Boréades". Early Music. 3 (3): 263. doi:10.1093/earlyj/3.3.263.
  16. ^ Argent, Mark (25 October 2005). "Interview : The English Concert". Goldberg Magazine.
  17. ^ "Trevor’s preference was always to direct from the keyboard. He regarded the conductor as an essentially 19th century invention." – Felix Warnock, see above
  18. ^ Jeal, Erica (8 July 2003). "English Concert/Pinnock". The Guardian. Retrieved 14 April 2007. – Review of his final performance directing The English Concert, at which he was joined by fellow harpsichord-conductor Ton Koopman in some of Bach's harpsichord concertos
  19. ^ Vickers, David (February 2002). "Passing the (Authentic 18th-Century) Torch: Andrew Manze Succeeds Trevor Pinnock as Director of The English Concert". andante. Archived from the original on 11 August 2007. Retrieved 15 April 2007.
  20. ^ Kozinn, Allan (17 April 1990). "Review/Music; 2 Nights, 2 Ensembles And Much Mozart". The New York Times. Retrieved 14 April 2007. The Classical Band was born last year with the music world equivalent of a silver spoon.
  21. ^ Henahan, Donal (12 May 1989). "Review/Concert; Pinnock and New Ensemble Play Mozart as He Heard It". The New York Times. Retrieved 14 April 2007. – A review of The Classical Band's debut.
  22. ^ Rothstein, Edward (10 August 1991). "Review/Music; Authenticity: No More a Goal in Itself". The New York Times. Retrieved 14 April 2007. – A review discussing Pinnock's resignation. Despite this failure, The English Concert went on to record the complete Mozart symphonies and other classical repertoire.
  23. ^ a b National Arts Centre Esteemed Baroque interpreter Trevor Pinnock leads the NAC Orchestra's 2007 Messiah on 18–19 December Archived 6 July 2011 at archive.today 11 December 2007
  24. ^ Mazey, Steven (16 July 1996). "Russian pianist enjoys harmonious relationship with NAC". Ottawa Citizen. Archived from the original on 13 February 2007. Retrieved 14 April 2007. – Discussion of the recording of the Beethoven piano concertos, which has not been released.
  25. ^ Tetsuya Sekine (2001) MCO The 48th Regular Concert Interview with Maestro Trevor Pinnock Archived 7 February 2006 at the Wayback Machine, Mito Art Tower. Retrieved 16 February 2010.
  26. ^ Sargent, Joseph (4 December 2004). "Early Music Review: All in the Family". San Francisco Classical Voice. Archived from the original on 13 February 2010. Retrieved 17 February 2010.
  27. ^ a b c Askonas Holt Trevor Pinnock Archived 3 March 2016 at the Wayback Machine Profile on agent's webpage. Retrieved 15 February 2010.
  28. ^ European Brandenburg Ensemble Trevor Pinnock. Retrieved 18 February 2010.
  29. ^ Ford, Andrew "Trevor Pinnock discusses Handel's Rinaldo Archived 19 June 2011 at the Wayback Machine", Australian Broadcasting Corporation, transcript of The Music Show uncertain date. Retrieved 16 February 2010.
  30. ^ Carey Beebe Harpsichords A sound clip of part of the 'Vò far guerra' from Act II of Rinaldo with Emma Matthews and Trevor Pinnock directing the Australian Opera & Ballet Orchestra from the harpsichord. Retrieved 16 February 2010.
  31. ^ a b Northcott, Bayan (23 February 2005). "Trevor Pinnock, Wigmore Hall, London". The Independent. Retrieved 20 February 2010.[dead link‍]
  32. ^ Church, Michael (14 December 2006). "Happy Bach day to you, Mr Pinnock". The Independent. Retrieved 27 April 2007.[dead link‍]
  33. ^ Cheah, Jason (22 April 2006). "Baroque balm". The Star. Malaysia. Archived from the original on 21 May 2011. Retrieved 27 April 2007.
  34. ^ European Brandenburg Ensemble 2007 Concert Dates. Retrieved 15 February 2010.
  35. ^ 2008 Gramophone Award Winners, Times online, 25 September 2008. Retrieved 13 February 2010.
  36. ^ Trevor Pinnock and the European Brandenburg Ensemble, European Brandenburg Ensemble website accessed 13 February 2010.
  37. ^ Royal Academy of Music, Trevor Pinnock CBE, staff biographies. Retrieved 18 February 2010.
  38. ^ Birmingham Conservatires Early Music Archived 6 August 2010 at the Wayback Machine. Retrieved 18 February 2010.
  39. ^ University of Ottawa "Honorary Doctorates Archived 31 May 2014 at the Wayback Machine". Retrieved 18 February 2010.
  40. ^ University of Kent "Honorary graduates 1990–99 Archived 9 November 2012 at the Wayback Machine". Retrieved 18 February 2010.
  41. ^ University of Sheffield Honorary Graduates Archived 29 October 2013 at the Wayback Machine, p. 7. Retrieved 18 February 2010
  42. ^ "Trevor Pinnock | Artist | GRAMMY.com". grammy.com. Retrieved 14 April 2024.
  43. ^ Sources for this list are the notes to each recording
  44. ^ Byrd: Watkins Ale, Lavolta, Lady Morley, Rowland, Carman's Whis; Anon: My Lady Carey's Dompe; Tallis: O Ye Tender Babes; Gibbons: The Woods So Wild, Mask: The Fairest Nymph, Lord Salisbury his pavan and galliard; Bull: The King's Hunt, My Grief, My Self; Dowland: Lachrymae and Galliard; Randall: 'Can She Excuse'; Farnaby: Muscadin, Loath to Depart; Tomkins: Barafostus' Dream
  45. ^ Anon: The Grange; Gibbs: Lord Monck's March; Anon: Gerard's Mistress; Locke: Suite No.4 in D major; Purcell: A New Irish Tune (Lillibullero); Draghi: Ground (Socca Pur); Purcell – Suite No.2 in G minor; Blow: ; Greene: Overture in D major; Arne – Sonata No.6 in G; Nares – Lesson No.2 in D major; Paradies – Sonata No.6 in A major
  46. ^ Anon: My Lady Wynkfylds Rownde; Byrd: The Queenes Alman, The Bells; Handel: Suite no.5 in E major HWV 430; Croft: Suite no.3 in C minor; Arne: Sonata no.3 in G major; J. C. Bach: Sonata in C minor op.5 no.6
  47. ^ Handel: Air and Variations 'The Harmonious Blacksmith'; Fischer: Passacaglia in D minor; Couperin: Les Baricades Mysterieuses; Bach: Italian Concerto in F major; Rameau: Gavotte avec 6 Doubles; Scarlatti: Sonatas in E major K. 380 and 381; Fiocco: Adagio in G major; Daquin: Le Coucou; Balbastre: La Suzanne
  48. ^ Purcell: Suite No.4 in A minor; Haydn: Sonata in D major, Hob.XVI/14; Handel: Suite No.7 in G minor; Handel: Suite No.2 in F major; Purcell: Suite No.2 in G minor; Haydn: Sonata in G major, Hob.XVI/27; Haydn Sonata in D major, Hob.XVII/D1: Finale (Allegro); Purcell: A new Ground in E minor. Recorded live at Wigmore Hall: "Wigmore Hall Live". Archived from the original on 9 January 2010. Retrieved 13 January 2010.
  49. ^ Lyrita Walter Leigh – * Overture, Agincourt • Concertino for Harpsichord • Music for String Orchestra • A Midsummer Night's Dream Suite • The Frogs • * Jolly Roger Overture, lyrita.co.uk accessed 18 February 2010.
  50. ^ For the Concert champêtre, Pinnock played a rare triple manual harpsichord, disposition 16' 8' 8' 4' 2', lute stop, 2 buff stops, 2 couplers, by Robert Goble & Son, Oxford (picture Archived 27 September 2007 at the Wayback Machine) after H. A. Hass, Hamburg, 1740. The original is apparently in the collection of Rafael Puyana.
  51. ^ Quintets: op.22 no.1, op.11 no.1, op.11 no.6
  52. ^ Op.1 nos.1, 3, 7, 9, 11, 12; op.2 nos.4, 6, 9, 12.
  53. ^ For 2 violins: op.5 no.2, op.5 no.4, HWV 393, op.2 no.3; for violin and flute: op.2 no.1; for violin: op.1 no.3.
  54. ^ Anon.: Divisions on the 'Barafostus Dream'; Alfonso Ferrabosco: Pieces for the lyra-viol; Orlando Gibbons: Fantasia for organ; Christopher Simpson: Prelude and Divisions in E minor; William Corkine: The Punckes Delight, Coranto I, Coranto II, Walsingham; John Bull: Coranto; Anon.: The King's Morisk; John Bull: The Duchess of Brunswick's Toy; Tobias Hume: Musical Humors: Touch me lightly, Harke, harke, A Souldiers Resolution; John Bull: My Jewel; Christopher Simpson: Divisions in B flat
  55. ^ Pierre-F. Roberge "The Punckes Delight" Medieval Music & Arts Foundation. Retrieved 18 February 2010.
  56. ^ Only released on vinyl LP
  57. ^ Concertos: C. P. E. Bach: Flute Concerto in A major, Wq.168/H.438; Franz Benda: Flute Concerto in E minor; Frederick II of Prussia: Flute Concerto No. 3 in C major; Johann Joachim Quantz: Flute Concerto, QV 5:174 in G major (No. 161). Sonatas: J. S. Bach: Trio Sonata from the Musical Offering, BWV 1079 (Matthew Truscott, violin); Anna Amalia of Prussia: Flute sonata in F major; C. P. E. Bach: Sonata in A minor for Solo Flute, Wq.132/H.562; Johann Friedrich Agricola: Flute sonata in A major; Frederick II: Flute Sonata in B minor; C. P. E. Bach: Flute Sonata in G major, Wq.133/H.564.
  58. ^ "The Flute King: Music from the Court of Frederick the Great – Release Details". EMI Classics. Retrieved 12 June 2012.
  59. ^ Trevor Pinnock and The English Concert recorded with CRD from 1974 to 1978, Archiv from 1978 to 1995, and Avie in 2001
  60. ^ Concerto à 8 for trumpet, 2 oboes, strings and continuo FWV L:D1, concerto for bassoon, 2 oboes, strings and continuo FWV L:c2, orchestral suite for violin, oboe, 2 flutes, bassoon, strings and continuo FWV K:g2, concerto for chalumeau, 2 oboes, bassoon, strings and continuo FWV L:B1, concerto for 2 trumpets, 2 horns, 2 oboes, bassoon, strings and continuo FWV L:D14
  61. ^ Pinnock plays the organ concerto movement of Handel's concerto grosso op.3 no.6
  62. ^ Pinnock plays the organ concerto movements of Saul's act I sinfonia and act II sinfonia: Wedding Symphony
  63. ^ Vickers, David GFHandel.org exclusives! Interviews Issue 7 December 2002 Archived 15 December 2005 at the Wayback Machine, G. F. Handel.org, 25 December 2002. Retrieved 18 February 2010
  64. ^ Trevor Pinnock also wrote the preface to this book on the oratorio: Barber, David W. (1994). Getting a Handel on Messiah. illustrated by Dave Donald. Sound And Vision Publishing Ltd, Canada. ISBN 0-920151-17-5.
  65. ^ Arthbaus Musik Tamerlano: Georg Frideric Handel Archived 28 September 2007 at the Wayback Machine, arthaus-musik.com. Retrieved 18 February 2010.
  66. ^ Service in B-flat, Z.230; Te Deum & Jubilate in D, Z.232; Evening Service in G minor, Z.231; O God, thou has cast us out, Z.36; O Lord God of Hosts, Z.37; Remember not, Lord, our offences, Z.50; Lord, how long wilt thou be angry, Z.25; O God, thou art my God, Z.35; Man that is born of a woman, Z.27; Thou knowest, Lord, the secrets of our hearts, Z.58c; Jehovah, quam multi sunt hostes mei, Z.135; My heart is inditing, Z.30; O sing unto the Lord, Z.44; My beloved spake, Z.28; They that go down to the sea in ships, Z.57; Praise the Lord, O Jerusalem, Z.46.
  67. ^ Concerto for strings RV 156; concerto for oboe RV 449 (op.8 no.12); concerto for bassoon RV 485; concerto for strings RV 166; concerto for violin, 2 recorders and 2 oboes 'per l'orchestra di Dresda' RV 577; concerto for recorder RV 444; concerto for 2 violins and 2 cellos RV 575.
  68. ^ Concerto alla rustica RV 151; concerto for oboe and violin RV 548; concerto con molti stromenti RV 558; concerto for oboe RV 461; concerto for 2 violins RV 516; concerto for 2 mandolins RV 532.
  69. ^ Concerto for strings RV 159; concerto for violin 'l'amoroso' RV 271; concerto for bassoon RV 484; concerto for flute RV 436; concerto for viola d'amore and lute RV 540; concerto for oboe and bassoon RV 545.
  70. ^ Marc-Antoine Charpentier: Noëls sur les instruments H.531, 534; Johann Melchior Molter: concerto pastorale in G major; Vivaldi: concerto for 2 trumpets RV 537; Giuseppe Sammartini: Pastorale in G major from op.5 no.6; Telemann: concerto polonois in G major; Handel: concerto a due cori no.3 HWV 332; Corelli: Christmas concerto, op.6 no.8.
  71. ^ Johann Pachelbel: Canon & Gigue; Handel: The Arrival of the Queen of Sheba; Vivaldi: sinfonia for strings RV 149; Purcell: Chacony Z.730; Tomaso Albinoni: concerto a cinque op.9 no.2; Charles Avison: concerto grosso no.9 after Domenico Scarlatti; Haydn: harpsichord concerto Hob.XVIII:11.
  72. ^ John Stanley: Concerto for strings, op.2 no.3; Thomas Arne: Harpsichord concerto no.5; William Boyce: Symphony op.2 no.1; Francesco Geminiani: concerto grosso after Corelli's op.5 no.12 (variations on 'la folia'); Pieter Hellendaal: concerto op.3 no.4; Charles Avison: concerto grosso no.9 after Domenico Scarlatti.
  73. ^ Marquis Music Exquisite Fires: Music of Linda Bouchard Archived 15 May 2006 at the Wayback Machine Marquisclassics.com. Retrieved 18 February 2010.
  74. ^ PBS Renée Fleming Sacred Songs and Carols Archived 21 February 2014 at the Wayback Machine, PBS Great Performances website. Retrieved 18 February 2010.


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 Music Director, The English Concert
1972–2003 		Succeeded by

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