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Trevor Pinnock

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English harpsichordist and conductor (born 1946)

Pinnock in December 2006

Trevor David PinnockCBE (born 16 December 1946 inCanterbury,England) is a Britishharpsichordist andconductor.

He is best known for his association with theperiod-performance orchestraThe English Concert, which he helped found and directed from the keyboard for over 30 years inbaroque andclassical music. He is a former artistic director of Canada'sNational 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 atconservatoires. Trevor Pinnock won aGramophone Award for his recording of Bach'sBrandenburg Concertos with the European Brandenburg Ensemble, an occasional orchestra formed to mark his 60th birthday.

Biography and career

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Early life

[edit]

Trevor Pinnock was born inCanterbury, the second of four siblings. His grandfather had played in the Canterbury Silver Band. His father was Kenneth Alfred Thomas Pinnock. At the time of Trevor's birth he was teaching History at the local grammar school. He went in to publishing two years after Trevor's birth. His mother, Joyce Edith, née Muggleton, was an amateur singer.[1][2] In Canterbury, the Pinnock family lived near the pianistRonald Smith, from whose sister Pinnock had piano lessons. He became a chorister atCanterbury Cathedral when he was seven, attending the choir school from 1956 to 1961 and subsequentlySimon Langton Grammar School for Boys.[1][3] After receiving instruction in piano andorgan, he served as a church organist; by the time he was 15, he began to play theharpsichord.[2] At age 19, he won a Foundation Scholarship to theRoyal College of Music to study organ and he also studied harpsichord, winning prizes for performance on both instruments.[1][4] His teachers wereRalph Downes andMillicent Silver.[5] A strong early influence wasGustav Leonhardt, though he did not study with him.[4]

Instrumentalist

[edit]

As a harpsichordist, Pinnock toured Europe with theAcademy 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 aharpsichordist.[4] He made his London debut at theRoyal Festival Hall in 1966 with the Galliard Harpsichord Trio, which he co-founded withStephen Preston, flute, andAnthony Pleeth, cello. At this stage, they were playing baroque music on modern instruments.[4] His solo harpsichord debut was in 1968 at thePurcell 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 modernharpsichord concertos, includingRoberto Gerhard's concerto for harpsichord, percussion and strings,Manuel de Falla's concerto for harpsichord,Frank Martin'sPetite symphonie concertante for harp, harpsichord, piano and double string orchestra andFrancis Poulenc'sConcert Champêtre.[5][8] Pinnock andMaxim Vengerov toured together in 2000, with Vengerov taking up thebaroque violin for the first time and Pinnock taking up the moderngrand 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

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In November 1972 the Galliard Trio expanded to becomeThe English Concert, an orchestra specialising in performances ofbaroque andclassical music onperiod instruments.[4][11] The orchestra initially started with seven members but soon grew in size. The decision to move toperiod 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 byNikolaus 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 ofLeonard 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 ofRameau's last opera,Les Boréades, underJohn Eliot Gardiner.[15]He toured North America with The English Concert for the first time in 1983; he had earlier spent two periods asArtist in Residence atWashington University in St. Louis.[5] His debut atThe Proms was in 1980; he later directedHandel's oratorioSolomon 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'sAcante et Céphise; it became an established choir for a period from the mid-1990s at the time they were performing Bach'sMass in B minor. This allowed the ensemble to regularly performbaroque 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 orchamber organ,[17] for over 30 years, deciding, with the other orchestra members, to hand it over to violinistAndrew 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 asTomkins,Byrd,Bull andGibbons.

Other conducting projects

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In 1989 Pinnock founded The Classical Band in New York, signing an 18-disc recording contract withDeutsche Grammophon before the ensemble's first rehearsal.[20] He led the group in performances of the classical andromantic repertoire fromHaydn toMendelssohn on period instruments, including playing asfortepiano soloist.[21] After a disappointing series of concerts, he resigned in 1990 and was succeeded byBruno Weil.[22]

From 1991 to 1996 he was artistic director and principal conductor of theNational Arts Centre Orchestra inOttawa, 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 ofBeethoven's1st and5th piano concertos withGrigory Sokolov as soloist.[24] He has made occasional return visits to the orchestra since relinquishing his formal position with them.[23]

Guest conducting

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He has appeared frequently as a guest conductor with many of the world's leading orchestras, including theBoston,City of Birmingham,San Francisco andDetroitsymphony orchestras, theSaint Paul, Los Angeles and Mito[25]chamber orchestras, theFreiburger Barockorchester,Philharmonia Baroque Orchestra,[26]Mozarteum Orchestra of Salzburg,Berlin Philharmoniker,Vienna Philharmonic Orchestra, Austro-Hungarian Haydn Orchestra, theChicago Symphony Orchestra andLondon Philharmonic Orchestra and at theTanglewood,Mostly Mozart andSalzburg festivals.[14][27] He is a regular guest conductor of theLeipzig Gewandhaus Orchestra andDeutsche Kammerphilharmonie[28]

He made hisMetropolitan Opera debut in 1988 conducting Handel's operaGiulio Cesare, the same year he made his debut at theSalzburg Festival with Handel'sMessiah.[1][6]He conductedOpera Australia andMichael Chance in Handel'sRinaldo at theSydney Opera House in 2005.[29] He also playedWilliam Babell's virtuoso harpsichord transcriptions with some of the arias (which Babell claimed were of Handel's actual improvisations).[30]

Recent years

[edit]
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 commissionedmodern harpsichord music by English composerJohn Webb, whoseSurge (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'sEbb (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, abaroque orchestra, formed to mark his 60th birthday by recording Bach'sBrandenburg Concertos and performing popular baroque music.[32][33][34] Its recording of the concertos won theGramophone Award for Baroque Instrumental in 2008.[35] The band was not a permanent orchestra, but planned to reconvene in 2011 when Bach'sSt 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 theRoyal Academy of Music's Concert Orchestra,[37] taking masterclasses or workshops at other British universities,[38] and conducting the orchestras of such establishments asMozarteum University of Salzburg andThe Hong Kong Academy for Performing Arts.[27] He has also taught a handful of harpsichordists includingLars Ulrik Mortensen, Nicholas Parle, Carole Cerasi andJulian Perkins.

Degrees, honours and awards

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

He was appointed aCommander of the Order of the British Empire in 1992 and anOfficier of the FrenchOrdre des Arts et des Lettres in 1998.[1]

Pinnock received three nominations forGrammy Awards for his recordings ofHandel'sCoronation Anthems (1984),Vivaldi'sGloria andAlessandro Scarlatti'sDixit Dominus (1989) and Handel'sMessiah (1990).[42]

Recordings

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Each original release is listed. Years are those of recording.[43] Recordings onArchiv Produktion unless otherwise indicated.[44]

Solo harpsichord

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By composer

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  • 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 (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 andFrench 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 fromThe Well-Tempered Clavier (1992)
  • J. S. Bach:The Well-Tempered Clavier I,Deutsche Grammophon (2020)
  • J. S. Bach:The Well-Tempered Clavier II, Deutsche Grammophon (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 Records (1981)
  • Scarlatti: Sonatas Kk. 460, 461, 478, 479, 502, 516, 517, 518, 519, 529, 544, 545, 546, 547 (1986)

Collections

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Harpsichord concertos

[edit]

Chamber music

[edit]

Orchestral works with The English Concert

[edit]

Trevor Pinnock generally directs while playing harpsichordcontinuo.

By composer

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Collections

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  • 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 andGluck (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)
  • Sound the trumpet: Royal music of Purcell & Handel (Alison Balsom, natural trumpet;Iestyn Davies, countertenor;Lucy Crowe, soprano), EMI Classics[73] (2012)

Conducting

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Notes and references

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  1. ^abcdePinnock, 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. ^abCosic, Miriam (21 July 2005)."Born to the baroque".The Australian. Retrieved14 April 2007.
  3. ^Page, AnneOf Choristers, ancient and modern,Canterbury, St Edmund’s Junior SchoolArchived 14 May 2007 at theWayback Machine. Retrieved 16 February 2010.
  4. ^abcdeOwen Norris, David (August 2000)."Direct, blazing simplicity".Gramophone: 15. Retrieved15 February 2010.[permanent dead link]
  5. ^abcNoted in the biography in the liner notes of his recording16th Century English Keyboard Music, CRD records.
  6. ^abcPinnock, Trevor (March 2005).Hutchinson Encyclopedia of Britain. Helicon Publishing.ISBN 1-85986-275-6.
  7. ^abPinnock, 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 fromthe original on 9 August 2020. Retrieved8 May 2009. – He performed and recorded theConcert Champêtre in 1991.
  9. ^Sidgwick, John (29 March 2000)."Maxim Vengerov: Baroque Violinist".Culturekiosque Klassiknet. Archived fromthe original on 6 July 2000. Retrieved26 April 2007.
  10. ^Service, Tom (16 February 2000)."Baroque adventure".The Guardian. Retrieved26 April 2007.
  11. ^The Academy of Ancient Music was founded by fellow English harpsichordist-conductorChristopher Hogwood at around the same time.
  12. ^abMarceau, 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. ^abcPratt, George (2001). L. Macy (ed.)."Pinnock, Trevor".Grove Music Online.doi:10.1093/gmo/9781561592630.article.43632.ISBN 978-1-56159-263-0. Retrieved1 May 2007.
  15. ^Donington, Robert (1975). "Rameau'sLes 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. Retrieved14 April 2007. – Review of his final performance directing The English Concert, at which he was joined by fellow harpsichord-conductorTon 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 fromthe original on 11 August 2007. Retrieved15 April 2007.
  20. ^Kozinn, Allan (17 April 1990)."Review/Music; 2 Nights, 2 Ensembles And Much Mozart".The New York Times. Retrieved14 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. Retrieved14 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. Retrieved14 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. ^abNational Arts CentreEsteemed Baroque interpreter Trevor Pinnock leads the NAC Orchestra's 2007 Messiah on 18–19 DecemberArchived 6 July 2011 atarchive.today 11 December 2007
  24. ^Mazey, Steven (16 July 1996)."Russian pianist enjoys harmonious relationship with NAC".Ottawa Citizen. Archived fromthe original on 13 February 2007. Retrieved14 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 PinnockArchived 7 February 2006 at theWayback 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 fromthe original on 13 February 2010. Retrieved17 February 2010.
  27. ^abcAskonas HoltTrevor PinnockArchived 3 March 2016 at theWayback Machine Profile on agent's webpage. Retrieved 15 February 2010.
  28. ^European Brandenburg EnsembleTrevor Pinnock. Retrieved 18 February 2010.
  29. ^Ford, Andrew "Trevor Pinnock discusses Handel's RinaldoArchived 19 June 2011 at theWayback Machine", Australian Broadcasting Corporation, transcript ofThe Music Show uncertain date. Retrieved 16 February 2010.
  30. ^Carey Beebe HarpsichordsA sound clip of part of the 'Vò far guerra' from Act II ofRinaldo with Emma Matthews and Trevor Pinnock directing the Australian Opera & Ballet Orchestra from the harpsichord. Retrieved 16 February 2010.
  31. ^abNorthcott, Bayan (23 February 2005)."Trevor Pinnock, Wigmore Hall, London".The Independent. Retrieved20 February 2010.[dead link]
  32. ^Church, Michael (14 December 2006)."Happy Bach day to you, Mr Pinnock".The Independent. Retrieved27 April 2007.[dead link]
  33. ^Cheah, Jason (22 April 2006)."Baroque balm".The Star. Malaysia. Archived fromthe original on 21 May 2011. Retrieved27 April 2007.
  34. ^European Brandenburg Ensemble2007 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 ConservatiresEarly MusicArchived 6 August 2010 at theWayback Machine. Retrieved 18 February 2010.
  39. ^University of Ottawa "Honorary DoctoratesArchived 31 May 2014 at theWayback Machine". Retrieved 18 February 2010.
  40. ^University of Kent "Honorary graduates 1990–99Archived 9 November 2012 at theWayback Machine". Retrieved 18 February 2010.
  41. ^University of SheffieldHonorary GraduatesArchived 29 October 2013 at theWayback Machine, p. 7. Retrieved 18 February 2010
  42. ^"Trevor Pinnock | Artist | GRAMMY.com".grammy.com. Retrieved14 April 2024.
  43. ^Sources for this list are the notes to each recording
  44. ^Trevor Pinnock and The English Concert recorded with CRD from 1974 to 1978, Archiv from 1978 to 1995, Avie in 2001, and EMI in 2012
  45. ^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
  46. ^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: [Mortlack's Ground]; 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
  47. ^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
  48. ^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
  49. ^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 atWigmore Hall:"Wigmore Hall Live". Archived fromthe original on 9 January 2010. Retrieved13 January 2010.
  50. ^LyritaWalter 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.
  51. ^For theConcert champêtre, Pinnock played a rare triple manual harpsichord, disposition 16' 8' 8' 4' 2', lute stop, 2 buff stops, 2 couplers, byRobert Goble & Son, Oxford (pictureArchived 27 September 2007 at theWayback Machine) afterH. A. Hass, Hamburg, 1740. The original is apparently in the collection ofRafael Puyana.
  52. ^Quintets: op.22 no.1, op.11 no.1, op.11 no.6
  53. ^Op.1 nos.1, 3, 7, 9, 11, 12; op.2 nos.4, 6, 9, 12.
  54. ^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.
  55. ^Anon.: Divisions on the 'Barafostus Dream';Alfonso Ferrabosco: Pieces for thelyra-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
  56. ^Pierre-F. Roberge "The Punckes Delight" Medieval Music & Arts Foundation. Retrieved 18 February 2010.
  57. ^Only released on vinyl LP
  58. ^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.
  59. ^"The Flute King: Music from the Court of Frederick the Great – Release Details". EMI Classics. Retrieved12 June 2012.
  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 forchalumeau, 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 ofSaul's act I sinfonia and act II sinfonia:Wedding Symphony
  63. ^Vickers, DavidGFHandel.org exclusives! Interviews Issue 7 December 2002Archived 15 December 2005 at theWayback 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 MusikTamerlano: Georg Frideric HandelArchived 28 September 2007 at theWayback 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. ^Handel:Amadigi di Gaula - "Sento la gioia"; Purcell:King Arthur - Suite; Handel:Atalanta - Overture; Handel:Ode for the Birthday of Queen Anne - "Eternal source of light divine"; Purcell:The Fairy-Queen - Suite of musicks and dances; Purcell:Come Ye Sons of Art - "Sound the trumpet"; Handel: Suite in DWater Piece; Purcell:The Fairy-Queen - "The Plaint"; Handel: Oboe Concerto No. 1 in B flat
  74. ^Marquis MusicExquisite Fires: Music of Linda BouchardArchived 15 May 2006 at theWayback Machine Marquisclassics.com. Retrieved 18 February 2010.
  75. ^PBSRenée FlemingSacred Songs and CarolsArchived 21 February 2014 at theWayback Machine, PBSGreat Performances website. Retrieved 18 February 2010.
  76. ^Gustav Mahler:Symphony No. 4 in G major (arr.Erwin Stein);Claude Debussy:Prélude à l'après-midi d'un faune
  77. ^Anton Bruckner:Symphony No. 2 in C minor (arr.Anthony Payne);Johann Strauss II:Wein, Weib und Gesang, Op. 333 (arr.Alban Berg)
  78. ^Gustav Mahler:Lieder eines fahrenden Gesellen (arr.Arnold Schoenberg);Ferruccio Busoni:Berceuse élégiaque, Op. 42 (arr.Erwin Stein);Alexander von Zemlinsky: Sechs Gesänge, Op. 13 (arr.Christopher Austin);Richard Wagner:Siegfried Idyll, WWV. 103
  79. ^Wolfgang Amadeus Mozart:Serenade in B flat major, K. 361, 'Gran Partita';Joseph Haydn: Notturno No. 8 in G major, Hob. II:27
  80. ^Carl Philipp Emanuel Bach: Concerto in A minor Wq 166, H 430; Concerto in G Wq 169, H 445; Concerto in D minor Wq 22, H 425
  81. ^Antonio Vivaldi: Concerto in G minor RC 316a (Op. 4 No. 6);Tomaso Albinoni: Concerto in D minor Op. 9 No. 2; Antonio Vivaldi: Concerto in D RV 230 (Op. 3 No. 9);Alessandro Marcello: Concerto in D minor S. D935;Georg Philipp Telemann: Concerto in F minor TWV 51:f1;George Frideric Handel: Concerto Grosso in D HWV 323 (Op. 6 No. 5)

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