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Trevor Pinnock

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File:Trevor Pinnock.jpg
Pinnock in December 2006

Trevor David Pinnock Template:Post-nominals (born 16 December 1946 in Canterbury, England) is a British harpsichordist and conductor.

He is best known for his association with the period-performance orchestra The English Concert, which he helped found and directed from the keyboard for over 30 years in baroque and classical music. He is a former artistic director of Canada's National 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 at conservatoires. Trevor Pinnock won a Gramophone Award for his recording of Bach's Brandenburg Concertos with the European Brandenburg Ensemble, an occasional orchestra formed to mark his 60th birthday.

Biography and careerEdit

Early lifeEdit

Trevor Pinnock was born in Canterbury, where his grandfather had run a Salvation Army band. His father was Kenneth Alfred Thomas Pinnock, a publisher, and his mother, Joyce Edith, née Muggleton, was an amateur singer.<ref name=debrett>Template:Cite book</ref><ref name=australian>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In Canterbury, the Pinnock family lived near the pianist Ronald Smith, from whose sister Pinnock had piano lessons. He became a chorister at Canterbury Cathedral when he was seven, attending the choir school from 1956 to 1961 and subsequently Simon Langton Grammar School for Boys.<ref name=debrett/><ref>Page, Anne Of Choristers, ancient and modern, Canterbury, St Edmund’s Junior School Template:Webarchive. Retrieved 16 February 2010.</ref> After receiving instruction in piano and organ, he served as a church organist; by the time he was 15, he began to play the harpsichord.<ref name=australian/> At age 19, he won a Foundation Scholarship to the Royal College of Music to study organ and he also studied harpsichord, winning prizes for performance on both instruments.<ref name=debrett/><ref name=gramophone>Template:Cite journalTemplate:Dead link</ref> His teachers were Ralph Downes and Millicent Silver.<ref name=crd>Noted in the biography in the liner notes of his recording 16th Century English Keyboard Music, CRD records.</ref> A strong early influence was Gustav Leonhardt, though he did not study with him.<ref name=gramophone/>

InstrumentalistEdit

As a harpsichordist, Pinnock toured Europe with the Academy of St Martin in the Fields.<ref name=hutchinson>Template:Cite book</ref> 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.<ref name=gramophone/> 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.<ref name=gramophone/> His solo harpsichord debut was in 1968 at the Purcell Room in London.<ref name=who>Template:Cite book</ref>

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.<ref name=crd/><ref name=poulenc>Template:Cite news – He performed and recorded the Concert Champêtre in 1991.</ref> 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 second half of piano and modern violin.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The English ConcertEdit

In November 1972 the Galliard Trio expanded to become The English Concert, an orchestra specialising in performances of baroque and classical music on period instruments.<ref name=gramophone/><ref>The Academy of Ancient Music was founded by fellow English harpsichordist-conductor Christopher Hogwood at around the same time.</ref> The orchestra initially started with seven members but soon grew in size. The decision to move to period performance was taken for a number of reasons:<ref name=autumn>Template:Cite news "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."</ref>

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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.{{#if:|{{#if:|}}

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File:Trevor Pinnock 2.jpg
Pinnock at the harpsichord

Pinnock was at the forefront of the period performance movement and the revitalisation 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!"<ref>Template:Cite book</ref>

The English Concert's London debut was at the English Bach Festival in 1973.<ref name=grove>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1975, Pinnock played the harpsichord in the first-ever performance of Rameau's last opera, Les Boréades, under John Eliot Gardiner.<ref>Template:Cite journal</ref> 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 in St. Louis.<ref name="crd" /> His debut at The Proms was in 1980; he later directed Handel's oratorio Solomon in 1986 and many other large-scale works with his orchestra.<ref name="hutchinson" /> They toured worldwide and made numerous recordings, Pinnock directing "with a characteristic energy and enthusiasm which are readily communicated to audiences."<ref name="grove" /> 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's Acante et Céphise; it became an established choir for a period from 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.<ref name=goldberg>Template:Cite journal</ref>

He directed The English Concert, usually from the harpsichord or chamber organ,<ref>"Trevor’s preference was always to direct from the keyboard. He regarded the conductor as an essentially 19th century invention." – Felix Warnock, see above</ref> for over 30 years, deciding, with the other orchestra members, to hand it over to violinist Andrew Manze in 2003.<ref name=autumn/><ref name=guardian>{{#invoke:citation/CS1|citation |CitationClass=web }} – 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</ref> He explained the decision as follows:<ref name=torch>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

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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.{{#if:|{{#if:|}}

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Other conducting projectsEdit

In 1989 Pinnock founded The Classical Band in New York, signing an 18-disc recording contract with Deutsche Grammophon before the ensemble's first rehearsal.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He led the group in performances of the classical and romantic repertoire from Haydn to Mendelssohn on period instruments, including playing as fortepiano soloist.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} – A review of The Classical Band's debut.</ref> After a disappointing series of concerts, he resigned in 1990 and was succeeded by Bruno Weil.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} – A review discussing Pinnock's resignation. Despite this failure, The English Concert went on to record the complete Mozart symphonies and other classical repertoire.</ref>

From 1991 to 1996 he was artistic director and principal conductor of the National Arts Centre Orchestra in Ottawa, a group he had first directed in 1985.<ref name=nac>National Arts Centre Esteemed Baroque interpreter Trevor Pinnock leads the NAC Orchestra's 2007 Messiah on 18–19 December Template:Webarchive 11 December 2007</ref> 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 of Beethoven's 1st and 5th piano concertos with Grigory Sokolov as soloist.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }} – Discussion of the recording of the Beethoven piano concertos, which has not been released.</ref> He has made occasional return visits to the orchestra since relinquishing his formal position with them.<ref name=nac />

Guest conductingEdit

He has appeared frequently as a guest conductor with many of the world's leading orchestras, including the Boston, City of Birmingham, San Francisco and Detroit symphony orchestras, the Saint Paul, Los Angeles and Mito<ref>Tetsuya Sekine (2001) MCO The 48th Regular Concert Interview with Maestro Trevor Pinnock Template:Webarchive, Mito Art Tower. Retrieved 16 February 2010.</ref> chamber orchestras, the Freiburger Barockorchester, Philharmonia Baroque Orchestra,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Mozarteum Orchestra of Salzburg, Berlin Philharmoniker, Vienna Philharmonic Orchestra, Austro-Hungarian Haydn Orchestra, the Chicago Symphony Orchestra and London Philharmonic Orchestra and at the Tanglewood, Mostly Mozart and Salzburg festivals.<ref name=grove/><ref name=AskonasHolt /> He is a regular guest conductor of the Leipzig Gewandhaus Orchestra and Deutsche Kammerphilharmonie<ref name=ebe>European Brandenburg Ensemble Trevor Pinnock. Retrieved 18 February 2010.</ref>

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.<ref name=debrett/><ref name=hutchinson/> He conducted Opera Australia and Michael Chance in Handel's Rinaldo at the Sydney Opera House in 2005.<ref name=ford>Ford, Andrew "Trevor Pinnock discusses Handel's Rinaldo Template:Webarchive", Australian Broadcasting Corporation, transcript of The Music Show uncertain date. Retrieved 16 February 2010.</ref> He also played William Babell's virtuoso harpsichord transcriptions with some of the arias (which Babell claimed were of Handel's actual improvisations).<ref>Carey Beebe Harpsichords A sound clip of part of the 'Vò far guerra' from Act II of Rinaldo with Emma Matthews and Trevor Pinnock directing the Australian Opera & Ballet Orchestra from the harpsichord. Retrieved 16 February 2010.</ref>

Recent yearsEdit

File:Trevor Pinnock 3.jpg
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.<ref name=AskonasHolt>Askonas Holt Trevor Pinnock Template:Webarchive Profile on agent's webpage. Retrieved 15 February 2010.</ref>

In 2004 he commissioned modern harpsichord music by English composer John Webb, whose Surge (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."<ref name=Northcott /> He has also played the same composer's Ebb (2000), which "comprises a spasmodic discourse against a manic background of descending scale patterns like a kind of out-of-kilter change-ringing".<ref name=Northcott>{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead linkTemplate:Cbignore</ref>

He toured Europe and the Far East in 2007 with the European Brandenburg Ensemble, a baroque orchestra, formed to mark his 60th birthday by recording Bach's Brandenburg Concertos and performing popular baroque music.<ref name="Church">{{#invoke:citation/CS1|citation |CitationClass=web }}Template:Dead linkTemplate:Cbignore</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>European Brandenburg Ensemble 2007 Concert Dates. Retrieved 15 February 2010.</ref> Its recording of the concertos won the Gramophone Award for Baroque Instrumental in 2008.<ref>2008 Gramophone Award Winners, Times online, 25 September 2008. Retrieved 13 February 2010. </ref> The band was not a permanent orchestra, but planned to reconvene in 2011 when Bach's St John Passion was to be the focus of their work.<ref>Trevor Pinnock and the European Brandenburg Ensemble, European Brandenburg Ensemble website accessed 13 February 2010.</ref>

Pinnock's educational work takes place both in the United Kingdom and elsewhere. It includes being principal guest conductor of the Royal Academy of Music's Concert Orchestra,<ref>Royal Academy of Music, Trevor Pinnock CBE, staff biographies. Retrieved 18 February 2010.</ref> taking masterclasses or workshops at other British universities,<ref>Birmingham Conservatires Early Music Template:Webarchive. Retrieved 18 February 2010.</ref> and conducting the orchestras of such establishments as Mozarteum University of Salzburg and The Hong Kong Academy for Performing Arts.<ref name=AskonasHolt /> He has also taught a handful of harpsichordists including Lars Ulrik Mortensen, Nicholas Parle, Carole Cerasi and Julian Perkins.

Degrees, honours and awardsEdit

Pinnock gained ARCM Hons (organ) (1965), FRCM (1996), and Hon. FRAM (1988).<ref name=who/> His honorary doctorates include those from the University of Ottawa (D. University) in 1993,<ref>University of Ottawa "Honorary Doctorates Template:Webarchive". Retrieved 18 February 2010.</ref> the University of Kent (DMus) in 1995,<ref>University of Kent "Honorary graduates 1990–99 Template:Webarchive". Retrieved 18 February 2010.</ref> and the University of Sheffield (DMus) in 2005.<ref>University of Sheffield Honorary Graduates Template:Webarchive, p. 7. Retrieved 18 February 2010</ref>

He was appointed a Commander of the Order of the British Empire in 1992 and an Officier of the French Ordre des Arts et des Lettres in 1998.<ref name=debrett/>

Pinnock received three nominations for Grammy Awards for his recordings of Handel's Coronation Anthems (1984), Vivaldi's Gloria and Alessandro Scarlatti's Dixit Dominus (1989) and Handel's Messiah (1990).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

RecordingsEdit

Each original release is listed. Years are those of recording.<ref>Sources for this list are the notes to each recording</ref> Recordings on Archiv Produktion unless otherwise indicated.<ref>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</ref>

Solo harpsichordEdit

By composerEdit

  • 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 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)
  • 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)

CollectionsEdit

  • 16th Century English Keyboard Music, CRD Records<ref>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</ref> (1976)
  • A Choice Collection of Lessons and Ayres (17th and 18th Century English Keyboard Music), CRD Records<ref>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</ref> (1978)
  • At the Victoria and Albert Museum, CRD Records<ref>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</ref> (1974)
  • The Harmonious Blacksmith: Favourite Harpsichord Works<ref>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</ref> (1983)
  • Suites by Purcell and Handel and Sonatas by Haydn, Wigmore Hall Live<ref>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 at Wigmore Hall: {{#invoke:citation/CS1|citation

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Harpsichord concertosEdit

Chamber musicEdit

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Orchestral works with The English ConcertEdit

Trevor Pinnock generally directs while playing harpsichord continuo.

By composerEdit

CollectionsEdit

  • Christmas Concertos<ref>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.</ref> (1988)
  • Pachelbel: Canon and Gigue<ref>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.</ref> (1985)
  • A Grand Concert of Musick: English Baroque Concertos<ref>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.</ref> (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 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) (1991)
  • Sound the trumpet: Royal music of Purcell & Handel (Alison Balsom, natural trumpet; Iestyn Davies, countertenor; Lucy Crowe, soprano), EMI Classics<ref>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 D Water Piece; Purcell: The Fairy-Queen - "The Plaint"; Handel: Oboe Concerto No. 1 in B flat</ref> (2012)

ConductingEdit

Notes and referencesEdit

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External linksEdit


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