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Marvin J. Ward
Classical Voice of North Carolina (, December 2012

Chamber Music (Baroque) - SCHOP, J. / SCHMELZER, J.H. / MUFFAT, G. / KRIEGER, J.P. / BUXTEHUDE, D. / BACH, J.S. / ERLEBACH, P.H. (Trio Settecento) CDR90000-114
Chamber Music - LULLY, J.-B. / COUPERIN, F. / MARAIS, M. / REBEL, J.-F. / RAMEAU, J.-P. / LECLAIR, J.M. (A French Soiree) (Trio Settecento) CDR90000-129

This is the finest recorded set of historically-informed Baroque period recitals that I have ever encountered, for its selection of works, their arrangement within each program and across the series, and for the instrumentation and the simply stunning performances. © Marvin J. Ward & CVNC. Reproduced with permission. Read complete review

Maria Nockin
Fanfare, November 2012

My last selection, A French Soirée, allows me to send my mind on a trip to another time and return totally refreshed. Pine describes French Baroque music as a world of elegance and opulence. That certainly is what this disc provides. © 2012 Fanfare Read complete review

WETA, July 2012

All three members of the group are accomplished players and Baroque scholars. Pine discusses their approach to French Baroque ornamentation, as well as the tuning for these performances. “(We) decided to use the historic tuning of A=392, similar to a modern G-natural. We made this decision not just for the sake of authenticity. This lower pitch significantly changes the resonance of our instruments, affecting everything from our tone colors to our choices of tempi. It brings the music to life in an unexpected and glorious way…Listening to the glorious, ornate and refined music of the French Baroque is like stepping into a fantasy world of elegance and opulence.” © 2012 WETA Continue reading

Donald Rosenberg
Gramophone, June 2012

Pine and colleagues John Mark Rozendaal (viola da gamba) and David Schrader (harpsichord) are in top form on ‘A French Soirée’…As played by these musicians, the composers—Couperin, Leclair, Lully, Marais, Rameau, Rebel—are confirmed as titans of the period, even on the most intimate scale.

Trio Settecento apply bountiful charm to delicate moments, as in the ‘Muzette’ from Couperin’s Troisième concert, and digs into the scintillating writing in Rameau’s Quatrième concert with earthy delight. Whatever the demands, the musicians ornament with stylish sensitivity, savour the expressive sophistication and achieve utmost clarity of texture. With Schrader contributing his own brand of articulate and glistening artistry, the trio turns this delectably considered soirée into an evening to cherish. © 2012 Gramophone Read complete review on Gramophone

Lance Hulme
Early Music America, June 2012

This delightful CD delivers exactly what it promises: a charming evening of music written to be performed at the courts of Louis XIV and XV.

This recording begins with ballet music by Jean-Baptist Lully and continues with works by younger composers including François Couperin, marin Marais, Jean-Marie Ledair, Jean-Féry Rebel, and Jean-Phillipe Rameau. All the choices are excellent and showcase superb artistry, but the Marais stands out as compositionally extravagant and technically exciting: John Mark Rozendaal’s virtuosity shines here. Rameau’s audacious and raucous Quatrièmene Concert is the high point of the recording, demonstrating Trio Settocento’s expertise as an ensemble

The program notes reflect contemporary research into gender issues and contain a lively, speculative, and occasionally hilarious account of the relationship between court composers and their masters © 2012 Early Music America

Ardella Crawford
American Record Guide, March 2012

Here is elegant music, elegantly performed…The music spans the reigns of French kings Louis XIV and XV, with the logic behind the program well explained in notes by John Mark Rozendaal…The violinist is Rachel Barton Pine, a familiar name in the world of both violin and early music, and the harpsichordist is David Schrade… © 2012 American Record Guide Read complete review on American Record Guide online

Michael Schwartz
The WholeNote, February 2012

Trio Settecento has recorded a selection of the finest music of its type, the antidote to those jaded souls who believe baroque music all sounds the same. © 2012 The WholeNote Read complete review

Charles T. Downey
The Classical Review, January 2012

Violin Sonata in G major…perfectly showcases Barton Pine’s astounding virtuosity…and shows her handling the devilish multiple-stop writing used to evoke trio sonata texture as if she were creating the sound of two violins on a single instrument.

…Marais’ delightful Chaconne…the two sarabandes, both from concerts (suites) by Couperin, offer some of the most delectable listening on this generally savory disc.

…Barton Pine’s exquisite intonation is one of the reasons listening to her is so rewarding. The Trio Settecento threesome, accustomed to one another from years of playing together, form a pleasing, unified whole, with careful, historically based attention given to matters of phrasing and ornamentation. © 2012 The Classical Review Read complete review

David Vernier, December 2011

…the general public doesn’t get to hear many live performances of this music…so when we do get a recording, it’s gratifying that, as it is here, it’s done with such respect for the clever compositional devices, pointedly emotional expressions, and the special nuances of the various dances and sonata movements. Ornaments? Yes, scads of them; but they aren’t gratuitous frills. These three players know how to integrate them into the melodic and harmonic context as they should be, so they’re an enhancement rather than a distraction.

Which brings us to this superb trio, experienced not only in the genre but as ensemble partners, who play on a very special set of instruments… To this end the trio went so far as to set the pitch at A=392, as much for historical authenticity as for its decided effect on the instruments’ resonance and resulting collective sound. The result is a celebration of the tonal qualities of these instruments as well as of the sophisticated and eminently repeatable musical selections and the virtuosic performances.

The ensemble shows its impressive cohesiveness in both style and substance in the two tricky Sarabandes by Couperin…I can’t emphasize enough the solid, unwavering communicative skills shown by these musicians, which culminates in one of this year’s more enjoyable—and replayable—recordings. Highly recommended. © 2011 Read complete review

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