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

bio

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. From Castello to Tartini, from Schmelzer to Mozart, from Lully to Rameau, Concerto 1700 was born with the intention to perform works from the early baroque to the dawn of Romanticism, for that Concerto 1700 makes a optimum use of all stylistic resources at their fingertips, including the presence at concerts of original period instruments.

Concerto 1700 highlights by the recovering work of music little known nowadays but, in turn, pure, intense and exciting. Authors who, for one reason or another, were relegated in the shadow of oblivion, are now rescued and performed by this group respecting own musical canons of the time. That unique sound and freshness are embodied and recreated by Concerto 1700 in each of their performances.

Concerto 1700 has been finalists as Best Young Group in the GEMA 2015 and 2016 Awards, being awarded with the FestClassical 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. In 2018 they released their first album «José de Torres (ca.1670-1738): Amoroso Señor» with unpublished works by the Spanish composer together with the soprano Aurora Peña with a wonderful reception by the public and critics.

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 Italian baroque violin anonymous from XVII century as well as an English violin from the mid-18th century.

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Perfect technique, impeccable tuning and stylistic adaptation

José del Rincón, MUNDOCLÁSICO

agenda

  • January 18, 2020
    FANDANGO! SONES Y DANZAS DE LA ESPAÑA ANTIGUA

    Real Coliseo Carlos III

    SAN LORENZO DE EL ESCORIAL, SPAINObras de Sanz, Murcia, Scarlatti, Ortiz, etc.
  • March 21, 2020
    BELLO PASTOR: SPANISH SACRED CANTATAS FOR ALTO

    St. Barbara Church - FIAS

    MADRID, SPAINCarlos Mena, countertenor
    Works by José de Nebra
  • April 1, 2020
    ENTRE CÁNDIDOS BELLOS ACCIDENTES: SPANISH SACRED CANTATASBADAJOZ, SPAINAurora Peña, soprano
    Works by Nebra, Torres, Basset & Pérez de Camino
  • May 14, 2020
    EL VIOLÍN ILUSTRADO: SONATAS EN EL MADRID DE LA ILUSTRACIÓN

    St John's Smith Square - CNDM

    LONDON, UKWorks by Herrando, Scarlatti, Ledesma, Soler, Boccherini & Lolli
    More 
  • June 13, 2020
    DE AQUEL FATAL BOCADO: SPANISH SACRED CANTATAS FOR ALTO

    Chapel of the Royal Palace

    ARANJUEZ, SPAINCarlos Mena, countertenor
    Works by Antonio Literes

Outstanding music, performed in a very fine way by Concerto 1700

Eduardo Torrido, SCHERZO

media

  • AMOROSO SEÑOR by José de Torres (CD TEASER)

  • TESELA: Pieces for a Life (TEASER)

  • Gaetano Meneghetti - Sonata VI à solo - I. Adagio

Powerful interpretations, technically well resolved and with a polished and well-crafted sound

Mario Guada, CODALARIO

discography

portada disco

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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

contact

DIRECTOR:
Daniel Pinteño dpinteno@concerto1700.com

PR:
Julio Alonso julio@dacapoalfine.es
Tel: +34 606 500 282

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