Luigi Boccherini: String Quartets Op. 22 Concerto 1700 & Daniel Pinteño

• Luigi Boccherini (1743 - 1805): String Quartet in C Major, G.183:
• 1 Boccherini: String Quartet in C Major, G.183: I. Allegro Molto 05:53
• 2 Boccherini: String Quartet in C Major, G.183: II. Tempo di Minuetto 03:51
• String Quartet in D Major, G.184:
• 3 Boccherini: String Quartet in D Major, G.184: I. Moderato 06:46
• 4 Boccherini: String Quartet in D Major, G.184: II. Minuetto 03:00
• String Quartet in E flat Major, G.185:
• 5 Boccherini: String Quartet in E flat Major, G.185: I. Adagio 07:06
• 6 Boccherini: String Quartet in E flat Major, G.185: II. Rondeau. Allegro Moderato 05:42
• String Quartet in B Flat Major, G.186:
• 7 Boccherini: String Quartet in B Flat Major, G.186: I. Allegretto Moderato 06:40
• 8 Boccherini: String Quartet in B Flat Major, G.186: II. Allegro Vivace 02:49
• String Quartet in A minor, G.187:
• 9 Boccherini: String Quartet in A minor, G.187: I. Allegretto con Molto 08:12
• 10 Boccherini: String Quartet in A minor, G.187: II. Minuetto Amoroso 04:13
• String Quartet in C Major, G.188:
• 11 Boccherini: String Quartet in C Major, G.188: I. Andantino 07:49
• 12 Boccherini: String Quartet in C Major, G.188: II. Non Troppo Presto 02:33
• Total Runtime 01:04:34

Info for Luigi Boccherini: String Quartets Op. 22

Concerto 1700, led by the acclaimed violinist Daniel Pinteño, sets a new landmark in musical heritage with the first-ever complete recording of Luigi Boccherini’s Six String Quartets Op. 22 (G.183-G.188). This ambitious project, released under the 1700 Classics label, brings to light a collection written in 1775 for the Infante Don Luis in Madrid —a repertoire that has remained largely overlooked and minimally disseminated until now. Recorded in September 2025 at the Auditorio Fray Luis de León in Madrid , this album captures the vibrant essence of a golden era through the exclusive use of period instruments.

Through the expert artistry of Daniel Pinteño, Fumiko Morie, Isabel Juárez, and Ester Domingo , the ensemble explores the richness of Boccherini’s “opera piccola” style. In these quartets, the composer moves away from the Viennese tradition to create a kaleidoscopic texture where each voice maintains absolute independence, allowing every instrument to shine as a soloist. This release offers more than just a performance; it is an invitation to experience an intimate and soulful musical poetry that solidifies Boccherini’s role as a visionary figure in Western European chamber music.

Daniel Pinteño, violin
Fumiko Morie, violin
Isabel Juárez, viola
Ester Domingo, violoncello

Daniel Pinteño
Born in Malaga (Spain), he begins 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 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 Professor Hiro Kurosaki.

Currently, he develops his artistic work leading Concerto 1700 and collaborating with various european historicist ensembles such as Forma Antiqva, Al Ayre Español, La Ritirata, L’Arpeggiata, Haydn Sinfonietta Wien, La Capilla Real de Madrid, Tiento Nuovo, Nereydas, Concerto Ibérico among others.

Daniel Pinteño plays on an venetian baroque violin anonymous from late XVII century, and with a 1713 Stradivari “Pingrillé” copy made by the cremonese luthier Carlos H. Roberts.

This album contains no booklet.