Concerto 1700 provided a formidable lesson throughout the concert of a great work together and what the concept of chamber music means.
Simón Andueza, RITMO
Founded in 2015 by the violinist Daniel Pinteño, this young ensembles aim to provide an accurate and revealing point of view of the music as it was conceived. It is currently one of the most relevant ensembles in the Spanish historicist scene thanks to its virtuosity and timbre fantasy that critics have praised on several occasions.
Concerto 1700 highlights by the recovering work of the forgotten musical heritage, especially of Spanish composers and teachers of chapel of the 18th century. Authors who, for one reason or another, were relegated to the shadow of oblivion, are now rescued and performed by this group respecting the musical canons of their time
Concerto 1700 has been awarded with the FestClasica Circuits 2017 Award in the category Early Music. They have performed with great public and critical success in the most important Spanish festivals such as the Quincena Musical de San Sebastián, Festival Internacional de Santander, Otoño Musical Soriano, Festival de Música Española de Cádiz, Festival de Música Antigua de Aranjuez, Festival de Música Antigua de Sevilla, among others. After the success of their first two CDs, in 2021 they released an album with countertenor Carlos Mena entitled "Antonio Literes: Sacred Cantatas for alto" with unpublished works by the Mallorcan composer Antonio Literes, which has received unanimous critical acclaim.
Born in Malaga (Spain), Daniel Pinteño is considered by critics as one of the emerging figures with more projection within the Spanish historicist panorama. He began his studies in the Conservatorio Profesional de Música de Murcia, under the supervision of Emilio Fenoy, and later completes them with Juan Luis Gallego in the Conservatorio Superior de Música de Aragón.
During his years of training he actively attends to masterclasses with international soloists such as Nicolás Chumachenco, Alexei Bruni, Mikhail Kopelmann, Alberto Lisy or Ida Bieler, among others. He later moves to Germany, where he continues his advanced studies under Professor Nachum Erlich in the Staatliche Hochschule für Musik Karlsruhe (Germany).
From 2010 on, he focuses his musical work on the repertoire between the earliest music for violin in the sixteenth century until the Romantic language of the mid-nineteenth century, following historical-stylistic criteria. With this aim in mind, he starts his musicology studies in the University of La Rioja and Complutense University of Madrid while simultaneously taking part in masterclasses by historicist musicians such as Enrico Onofri, Anton Steck, Hiro Kurosaki, Catherine Manson, Enrico Gatti, Sirka-Lisa Kaakinen-Pilch, Margaret Faultless, Jaap Ter Linden, etc.
He studied Baroque violin in the Conservatoire à Rayonnement Régional de Toulouse (France) under the swiss violinist Gilles Colliard, as well as in the Real Conservatorio Superior de Música de Madrid (Spain), under professors Hiro Kurosaki.
His passion for the recovery of 18th century Spanish musical heritage has earned him critical recognition. In 2019 he receives the support of a Leonardo's Grant for researchers and cultural creators by the BBVA Foundation, with which he will carry out a project to recover and record the unpublished Spanish Sacred Cantatas for alto by Antonio Literes (1673-1747).
Currently, he develops his artistic work leading Concerto 1700 and collaborating with various european historicist ensembles such as Forma Antiqva, L’Arpeggiata, Al Ayre Español, La Ritirata, Tiento Nuovo, Nereydas among others.
Daniel Pinteño plays on an anonymous Italian violin from early 18th-century.
Perfect technique, impeccable tuning and stylistic adaptation
José del Rincón, MUNDOCLÁSICO
Outstanding music, performed in a very fine way by Concerto 1700
Eduardo Torrido, SCHERZO
CD «Antonio Literes: Sacred Cantatas for alto» with Carlos Mena
CD «José de Torres: Amoroso Señor» with Aurora Peña
Gaetano Meneghetti - Sonata VI à solo - I. Adagio
Powerful interpretations, technically well resolved and with a polished and well-crafted sound
Mario Guada, CODALARIO
They are excellent ... Not only good performers but researchers and responsible for the recovery of the Spanish musical heritage
Soledad Bordás, EL ARTE DE LA FUGA