Founded in 2015 by violinist Daniel Pinteño, Concerto 1700 has since its inception aspired to the recovery and dissemination of the Hispanic musical heritage of the seventeenth and eighteenth centuries. To carry out its artistic project, they use original period instruments, as well as a rigorous musicological study of the performance practice of the period that allow them to achieve the genuine sound of the baroque times.
Concerto 1700 is a group of variable formation, ranging from trio to baroque orchestra. This versatility allows them to cover any baroque repertoire without losing any of its specific personality, based on a meticulous work on ensemble sound and stylistic appropriateness. However, the interest of their interpretations does not lie in the mere recreation of the past, but in their desire to generate an experience that is stimulating for today’s audiences.
In their seven years of career, they have managed to position themselves as one of the most relevant ensembles on the historicist scene in Spain, performing in some of the most prestigious festivals and venues, such as the CNDM’s Universo Barroco at the Auditorio Nacional de España, the Festival Internacional de Música y Danza de Granada, the Festival Internacional de Santander, the Quincena Musical de San Sebastián, Otoño Musical Soriano, Festival de Música Española de Cádiz, Festival de Música Antigua de Aranjuez, Festival Internacional de Música de Úbeda y Baeza, and the Fundación Juan March, among others.
With the intention of extending his commitment to the dissemination of the Hispanic Baroque repertoire, in 2018 Concerto 1700 founded his own record label, 1700 Classics. In this way, they retain full autonomy over the musical and artistic outcome of their recordings, which are always dedicated to unpublished works from the Spanish 18th century. All their publications have been critically acclaimed in the main specialised magazines, receiving the qualification of Disco Excepcional from Scherzo, Disco Recomendado from Ritmo, Disque classique de le jour from France Musique as well as nominations for the ICMA Awards.
This coming 22/23 season they will be resident group of the Centro Nacional de Difusión Musical (CNDM) with a concert tour that will include performances in many cities in Spain and also abroad. Since this season they have been developing an intense musical activity as a resident group at the Fernando de Castro Foundation in Madrid.
Considered by critics as one of the emerging figures with more projection within the Spanish historicist scene, he was born in Malaga (Andalusia, Spain), began his studies at the Professional Conservatory of Music of Murcia under the guidance of Emilio Fenoy and later finished them with Juan Luis Gallego at the Conservatory of Music of Aragón (Zaragoza). During his formative years, he actively attended master classes with international soloists such as Nicolás Chumachenco, Alexei Bruni, Mikhail Kopelman, Alberto Lysy and Ida Bieler, among others. Later, he moved to Germany where he continued his studies with the professor of the Hochschule für Musik Karlsruhe, Nachum Erlich.
Since 2010, he oriented his musical work to the interpretation of the repertoire from the dawn of violin music of the seventeenth century to the romantic language of the mid-nineteenth century with historical criteria. To this end, he received classes from professors such as Enrico Onofri, Anton Steck, Hiro Kurosaki, Catherine Manson, Enrico Gatti, Sirkka-Liisa Kaakinen-Pilch, Margaret Faultless, Jaap ter Linden, etcetera. In addition, he studied Musicology at the University of La Rioja and the Complutense University of Madrid. He studied baroque violin at the Conservatoire à Rayonnement Régional de Toulouse (France) with the Swiss violinist Gilles Colliard and at the Real Conservatorio Superior de Música de Madrid under the tutelage of Hiro Kurosaki.
His passion for the recovery of Spanish musical heritage of the 18th century has earned him international critical acclaim. In 2019, he won a Leonardo grant for researchers and cultural creators awarded by the BBVA Foundation, with which he carried out a project to recover and record the album “Antonio de Literes (1673-1747): Sacred cantatas for alto”.
Daniel Pinteño plays on an anonymous Italian violin from the early 18th century.