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Trevor Pinnock

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Trevor Pinnock

Trevor David Pinnock CBE (born December 16, 1946) is an English conductor and harpsichordist. He is best known for directing period-performance orchestra The English Concert from the harpsichord for over 30 years in baroque and early classical music.

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, his mother, Joyce Edith, née Muggleton, was an amateur singer.[2][3] He became a chorister at Canterbury Cathedral when he was 7, attending the choir school from 1956 to 1961[4] and later Simon Langton Grammar School for Boys.[2] After receiving instruction in piano and organ, he served as a church organist. By the time he was 15, he was playing the harpsichord. At 19, he entered the Royal College of Music in London, where he held a Foundation Scholarship for organ[5] and later studied harpsichord, winning the major prizes for performance on both instruments.[2] His teachers were Ralph Downes and Millicent Silver.[6] A strong early influence was Gustav Leonhardt, though he did not study with him.[5]

Directing from the harpsichord

As a harpsichordist, he toured Europe with the Academy of St. Martin in the Fields.[7] 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.[5] 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.[6][8]

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.[5] His solo harpsichord debut was in 1968 at the Purcell Room in London.[9] In November 1972 the Galliard Trio expanded to become The English Concert, an orchestra specialising in performances of baroque and early classical music on period instruments.[5][10] They initially started with seven people but soon grew in size. The decision to move to period performance was taken for a number of reasons:[11]

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.

— Trevor Pinnock

Pinnock was at the forefront of the period performance movement and revitalising the sound 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!"[12]

The English Concert's London debut was at the English Bach Festival in 1973.[13] In 1975, Pinnock was thrilled to be able play the harpsichord in the first ever performance of Rameau's last opera, Les Boréades, under John Eliot Gardiner.[14] 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, St. Louis.[6] His debut at The Proms was in 1980; he later directed Handel's Solomon in 1986 and many other large-scale works with his orchestra.[7] They toured worldwide and made numerous recordings, Pinnock directing "with a characteristic energy and enthusiasm which are readily communicated to audiences."[13] The Choir of the English Concert was at first an ad-hoc group of singers assembled as needed, originally for Handel's Ode for St. Cecilia's Day in 1984;[13] it became a standing choir in 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.[15]

He directed The English Concert, usually from the harpsichord or chamber organ,[16] for over 30 years, deciding, with the other orchestra members, to hand over to violinist Andrew Manze in 2003.[11][17] He explained the decision as follows:[18]

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.

— Trevor Pinnock

New conducting projects

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.[2][7] In 1989 he founded The Classical Band in New York, signing an 18-disc recording contract with Deutsche Grammophon before it had ever even rehearsed.[19] He led the group in performances of the classical repertoire from Haydn to Mendelssohn on period instruments, including playing as fortepiano soloist.[20] After a disappointing series of concerts, he resigned in 1990 and was succeeded by Bruno Weil.[21]

From 1991-1996 he was artistic director and principal conductor of the National Arts Centre Orchestra in Ottawa, a group he had first directed in 1985.[22] He subsequently served as its artistic advisor during the 1996-1997 and 1997-1998 seasons, including a tour of the USA with the performance and recording of Beethoven's 1st and 5th piano concertos with Grigory Sokolov as soloist.[23]

He conducted Opera Australia and Michael Chance in Handel's Rinaldo at the Sydney Opera House in 2005.[24] He also played William Babell's virtuoso harpsichord transcriptions with some of the arias (which Babell claimed were of Handel's actual improvisations)[25]. He is to return to conduct Handel's Orlando.[26]

With the European Brandenburg Ensemble, a baroque orchestra founded by him to mark his 60th birthday, he is touring Europe, Asia and America in 2007. Founded to perform Bach's Brandenburg Concertos, they are playing a wide variety of the core baroque repertoire.[27][28][29][30]

Guest conducting

He has appeared frequently as a guest conductor with many of the world's leading orchestras, including the Boston, Birmingham, San Francisco and Detroit symphony orchestras, the Saint Paul, Los Angeles and Mito[31] chamber orchestras, the Freiburger Barockorchester, Philharmonia Baroque Orchestra[32], Mozarteum Orchestra of Salzburg, Vienna Philharmonic Orchestra, Austro-Hungarian Haydn Orchestra, and at the Tanglewood, Mostly Mozart and Salzburg festivals.[13] He is a regular guest conductor of the Leipzig Gewandhaus Orchestra and Die Deutsche Kammerphilharmonie, and principal guest conductor of the Royal Academy of Music's concert orchestra.[26]

Recent years

He has played modern harpsichord music by English composer John Webb: Ebb (2000), "comprises a spasmodic discourse against a manic background of descending scale patterns like a kind of out-of-kilter change-ringing." Surge (2004), commissioned by Pinnock, "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."[33]

Trevor 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 2nd half of piano and modern violin.[34][35]

Today he divides his time between performing as a harpsichordist and conducting both modern- and period-instrument orchestras.[36]

Degrees and honours

From the Royal College of Music: ARCM Hons (organ) 1965, FRCM 1996. From the Royal Academy of Music: Hon. FRAM 1988.[9]

He has received honorary doctorates from the University of Ottawa (D. University) in 1993,[37] The University of Kent (DMus) in 1995,[38] and the University of Sheffield (DMus) in 2005.[39] He was made a Commander of the Order of the British Empire in the Queen's Birthday Honours in 1992 and an Officier of the French Ordre des Arts et des Lettres in 1998.[2]

Recordings

Solo harpsichord

  • J. S. Bach: toccatas BWV 910-916, fantasia in C minor BWV 906, chromatic fantasia and fugue BWV 903, prelude and fugue in A minor BWV 894 (1977-1978)
  • J. S. Bach: Partitas for harpsichord BWV 825-830 (1985)
  • J. S. Bach: Partitas for harpsichord BWV 825-830, Hänssler Classics (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)
  • Handel: harpsichord suites and chaconne HWV 434, 441, 436, 438, 435
  • Rameau: Complete works, CRD records
  • 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
  • Scarlatti: Sonatas Kk. 460, 461, 478, 479, 502, 516, 517, 518, 519, 529, 544, 545, 546, 547 (1986)

Harpsichord concertos

Chamber music

  • J. C. Bach: 3 Quintets, Sextet [45] (also playing fortepiano and square piano) with members of The English Concert (1988)
  • J. S. Bach: sonatas for flute and harpsichord BWV 1030-1032 with Stephen Preston (baroque flute) and sonatas for flute and continuo BWV 1033-1035 with the addition of Jordi Savall (viola da gamba), CRD
  • J. S. Bach: sonatas for flute and harpsichord BWV 1020, 1030-1032 with Jean-Pierre Rampal (modern flute) and sonatas for flute and continuo BWV 1033-1035 with the addition of Roland Pidoux (cello), CBS records (1985)
  • J. S. Bach: sonatas for violin and harpsichord BWV 1014-1019, 1019a with Rachel Podger (violin) and sonatas for violin and continuo BWV 1021, 1023 with the addition of Jonathan Manson (viola da gamba), Channel Classics (2000)
  • J. S. Bach: sonatas for viola da gamba and harpsichord BWV 1027-1029, 1030b (an early version of the flute sonata) with Jonathan Manson, Avie (2006)
  • Arcangelo Corelli: Trio Sonatas [46] with members of The English Concert (1987)
  • Handel: Trio Sonatas [47] with members of The English Concert (1985)
  • Rameau: Pièces de Clavecin en Concerts with Rachel Podger and Jonathan Manson, Channel Classics (2002)
  • Soler: Six Concertos for Two Keyboard Instruments (playing harpsichord and fortepiano) with Kenneth Gilbert (1979)
  • Samuel Wesley: Duet for Organ in C major with Simon Preston on his recording Early English Keyboard Music (1986)

Orchestral works with The English Concert

Harpsichord continuo and direction. Recordings generally on Archiv Produktion.

  • Christmas Concertos [55] (1988)
  • Pachelbel: Canon and Gigue [56] (1990)
  • A Grand Concert of Musick: English Baroque Concertos [57] (1979)
  • Christmas in Rome: Vivaldi's Gloria; Corelli's Christmas Concerto; A. Scarlatti's 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) (1990)

Conducting

Notes and references

  1. ^ He has also regularly used harpsichords by Clayson & Garrett, Lyminge, Kent; David Rubio and a number of historical makers.
  2. ^ a b c d e "PINNOCK, Trevor David", Debrett's People of Today, Debrett's Peerage Ltd., April 2007, ISBN 1870520262
  3. ^ Cosic, Miriam (2005-07-21). "Born to the baroque". The Australian. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  4. ^ Of Choristers, ancient and modern: Canterbury
  5. ^ a b c d e Owen Norris, David (2001). "Trevor Pinnock: direct, blazing simplicity". Gramophone. {{cite web}}: Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  6. ^ a b c Noted in the biography in the liner notes of his recording 16th Century English Keyboard Music, CRD records.
  7. ^ a b c "PINNOCK, Trevor", Hutchinson Encyclopedia of Britain, Helicon Publishing, March 2005, ISBN 1859862756
  8. ^ Richmond, Jonathan (1991-12-03), "Sparkling performance of wotty Poulenc by Pinnock", The Tech, vol. 111, no. 55 {{citation}}: Check date values in: |date= (help) - He performed and recorded the Concert Champêtre in 1991.
  9. ^ a b "PINNOCK, Trevor", Who's Who, A & C Black, January 2007, ISBN 0713675276
  10. ^ The Academy of Ancient Music was founded by fellow English harpsichordist-conductor Christopher Hogwood at around the same time.
  11. ^ a b Marceau, Guy (2004-09-09), "Trevor Pinnock - Autumn Thoughts", La Scena Musicale, vol. 10, no. 1 {{citation}}: Check date values in: |date= (help) "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."
  12. ^ Cott, Jonathan (April 1, 2003), Back to a Shadow in the Night: Music Journalism and Writings: 1968-2001 (1st ed.), Hal Leonard, p. 207, ISBN 0634035967
  13. ^ a b c d Pratt, George. "Pinnock, Trevor". Grove Music Online, ed. L. Macy. {{cite web}}: Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  14. ^ Rameau recording liner notes
  15. ^ Argent, Mark (2005-10-25). "Interview : The English Concert". Goldberg Magazine. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  16. ^ "Trevor’s preference was always to direct from the keyboard. He regarded the conductor as an essentially 19th century invention." - Felix Warnock, see above
  17. ^ Jeal, Erica (2003-07-08). "English Concert/Pinnock". The Guardian. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) - 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
  18. ^ Vickers, David (2002). "Passing the (Authentic 18th-Century) Torch: Andrew Manze Succeeds Trevor Pinnock as Director of The English Concert". andante. {{cite web}}: Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help); Unknown parameter |month= ignored (help)
  19. ^ Kozinn, Allan (1990-04-17). "Review/Music; 2 Nights, 2 Ensembles And Much Mozart". The New York Times. The Classical Band was born last year with the music world equivalent of a silver spoon. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  20. ^ Henahan, Donal (1989-05-12). "Review/Concert; Pinnock and New Ensemble Play Mozart as He Heard It". The New York Times. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) - A review of The Classical Band's debut.
  21. ^ Rothstein, Edward (1991-08-10). "Review/Music; Authenticity: No More a Goal in Itself". The New York Times. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) - A review discussing Pinnock's resignation. Despite this failure, The English Concert went on to record the complete Mozart symphonies and other classical repertoire.
  22. ^ World Concert Artist Directory: Trevor Pinnock
  23. ^ Mazey, Steven (1996-07-16). "Russian pianist enjoys harmonious relationship with NAC". Ottawa Citizen. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help) - Discussion of the recording of the Beethoven piano concertos, which has not been released.
  24. ^ Trevor Pinnock discusses Handel's Rinaldo with Andrew Ford
  25. ^ A sound clip of part of the aria 'Vò far guerra' in which Pinnock's harpsichord playing can be heard
  26. ^ a b Trevor Pinnock - European Brandenburg Ensemble website
  27. ^ Church, Michael (2006-12-14). "Happy Bach day to you, Mr Pinnock". The Independent. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  28. ^ Cheah, Jason (2006-04-22). "Baroque balm". The Star (Malaysia). {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  29. ^ His agent's information page for the EBE project
  30. ^ Church, Michael (2006-12-14). "Happy Bach day to you, Mr Pinnock". The Independent. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  31. ^ An interview about conducting the Mito Chamber Orchestra
  32. ^ A review of a programme entitled 'Fathers and Son', in 2004
  33. ^ Quotes from: Northcott, Bayan (2005-02-23). "Trevor Pinnock, Wigmore Hall, London". The Independent. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  34. ^ Sidgwick, John (2000-03-29). "Maxim Vengerov: Baroque Violinist". Culturekiosque Klassiknet. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  35. ^ Service, Tom (2000-02-16). "Baroque adventure". The Guardian. {{cite web}}: Check date values in: |date= (help); Unknown parameter |accessdaymonth= ignored (help); Unknown parameter |accessyear= ignored (|access-date= suggested) (help)
  36. ^ His agent's webpage
  37. ^ University of Ottawa honorary doctorates
  38. ^ University of Kent honorary graduates 1990-99
  39. ^ Degree ceremony at Sheffield University
  40. ^ 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
  41. ^ 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
  42. ^ 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
  43. ^ 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
  44. ^ For this concerto, 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, after Hieronymus Albrecht Hass, Hamburg, 1740. It can be seen here. The original is apparently in the collection of Rafael Puyana.
  45. ^ Quintets: op.22 no.1, op.11 no.1, op.11 no.6
  46. ^ Op.1 nos.1, 3, 7, 9, 11, 12; op.2 nos.4, 6, 9, 12.
  47. ^ 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.
  48. ^ 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
  49. ^ Why Pinnock wasn't the organ soloist in the Handel organ concerto recordings
  50. ^ Details of the Tamerlano DVD
  51. ^ 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.
  52. ^ 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.
  53. ^ 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.
  54. ^ 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.
  55. ^ 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.
  56. ^ Johann Pachelbel: Canon & Gigue; Handel: 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.
  57. ^ 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.
  58. ^ Details of the Linda Bouchard recording
  59. ^ Song list for Sacred Songs, PBS Great Performances website
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