David Watkin

Biography

Born: May 8, 1965; Crowthorne, Berkshire  
David Watkin is one of the leading cellists in the period performance movement in London. As a boy he had thorough training in the cello including private lessons with Sharon McKinley and school lessons with Margaret Moncrieff and Amaryllis Fleming. He attended St. Catherine's College, Cambridge, as a choral scholar. This meant that he was an adult-voice member of the College's chapel choir and received thorough training in voice and Read more interpretation and a scholarship to the college for singing daily services during the school term. While there, he also won an award for his cello playing. As a Cambridge student he studied with the great teacher William Pleeth.

He played his debut recital in 1989 at St. John's, Smith Square. His accompanist was Howard Moody, who before and since has been Watkin's duo performance partner. They had already been friends for ten years, meeting in 1979 when they were both members of the National Youth Orchestra in Britain.

Watkin believes in informing his music making with scholarship, and does considerable research into the history and performing practice of the music he plays. This has naturally led him into the "period" or "authentic" performance movement. He has appeared as a soloist with many of London's period instrument orchestras. His performance of Vivaldi cello sonatas on the Hyperion label won the highest possible rating in BBC Music Magazine. He has recorded with the English Concert, the Academy of Ancient Music, Collegium Musicum '90, and the Orchestra of the Age of Enlightenment.

One of his achievements was the thorough researching of the method used in the Baroque era by cellists in realizing figured bass, a practice more usually associated with keyboard players. After writing an article on the practice in Early Music magazine, he became the first cellist in the modern era to give a complete concert realizing figured bass, playing Corelli's Op. 5 Violin Sonatas, which he recorded on the Novalis label. (His partners in this endeavor were the Trio Veracini.)

Watkin was principal cello in three leading period ensembles, the Academy of Ancient Music, the English Baroque Soloists, and L'Orchestre Révolutionnaire et Romantique. It may have been membership in the later that stimulated his interest in researching performance practice of the nineteenth century.

While commentators have long realized that there were striking technological and interpretational changes from the Classical era to the Romantic era (a period generally exemplified by the career of Beethoven), Watkin came to accept that there had been an equally abrupt change about a century later. For instance, the eminent teacher Leopold Auer felt it necessary in 1919 to write an article urging violinists not to adopt the practice of Auer's most famous pupil, Jascha Heifetz, in using vibrato constantly. Vibrato, advocated Auer (doubtless reflecting the established earlier practice), was meant to be applied sparingly for expressive purposes. Watkin discovered also that the use of portamento (glides from one note to another on the same finger) was commonplace, and was documented in published performers' editions of Romantic music giving fingerings. Using such research he published an article on the performance of Beethoven Cello Sonatas and then recorded them in a highly acclaimed and radical performance. Gramophone Magazine wrote of it, "If you're not sure about the advantages of original-instrument performance of classical chamber music, try this disc!"

In 1999, he joined the Eroica Quartet, which shared his interest in "performing the music of the Romantic period and rediscovering the style of its performance." He has written the Eroica Quartet's official mission statement, and with them, has recorded discs devoted to quartets of Mendelssohn, Beethoven, and Robert Schumann. Read less

Biography

Born: May 8, 1965; Crowthorne, Berkshire  
David Watkin is one of the leading cellists in the period performance movement in London. As a boy he had thorough training in the cello including private lessons with Sharon McKinley and school lessons with Margaret Moncrieff and Amaryllis Fleming. He attended St. Catherine's College, Cambridge, as a choral scholar. This meant that he was an adult-voice member of the College's chapel choir and received thorough training in voice and Read more
WORKS ALBUMS
TITLE/COMPOSER
LABEL
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 1. Allegro
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 2. Largo
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 3. Allegro
I. Allegro ma non troppo
II. Adagio
III. Scherzo: Presto - Trio: Andante sostenuto
IV. Allegretto
Mozart: La clemenza di Tito, K.621 - Overture
Mozart: La clemenza di Tito, K.621 / Act 1 - "Ma che? sempre l'istesso"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Come ti piace imponi"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Amico, il passo affretta"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Deh se piacer mi vuol" - "Chi ciecamente crede"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Amico, ecco il momento"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Deh prendi un dolce amplesso"
Mozart: La clemenza di Tito, K.621 / Act 1 - Marcia
Mozart: La clemenza di Tito, K.621 / Act 1 - "Serbate, oh Dei custodi"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Te della patria il Padre" - "Basta, basta, oh miei fidi"
Mozart: La clemenza di Tito, K.621 / Act 1 - Marcia
Mozart: La clemenza di Tito, K.621 / Act 1 - "Adesso, oh Sesto, parla per me"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Del più sublime soglio"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Non ci pentiam"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Ah perdona al primo affetto"
Mozart: La clemenza di Tito, K.621 / Act 1 - Di Tito al piè
Mozart: La clemenza di Tito, K.621 / Act 1 - "Ah, se fosse intorno al trono"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Felice me!" - "Ancora mi schernisce?"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Parto, ma tu ben mio"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Vedrai, Tito, vedrai"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Vengo... aspettate... Sesto!..."
Mozart: La clemenza di Tito, K.621 / Act 1 - "Oh Dei, che smania è questa"
Mozart: La clemenza di Tito, K.621 / Act 1 - "Deh conservate, o Dei"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Sesto, come tu credi"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Torna di Tito a lato"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Partir deggio, o restar?" - "Sesto! - Che chiedi?"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Se al volto mai ti senti"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Ah grazie si rendano"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Già de' pubblici giuochi"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Tardi s'avvede"
Mozart: La clemenza di Tito, K.621 / Act 2 - "No, così scellerato"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Tu fosti tradito"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Che orror! che tradimento!" - "Ingrato!"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Quello di Tito è il volto!"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Odimi, oh Sesto; siam soli"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Deh per questo istante solo"
Mozart: La clemenza di Tito, K.621 / Act 2 - Ove s'intese mai più contumace infedeltà?
Mozart: La clemenza di Tito, K.621 / Act 2 - "Se all'impero"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Non giova lusingarsi"
Mozart: La clemenza di Tito, K.621 / Act 2 - "S'altro che lagrime"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Ecco il punto, oh Vitellia"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Non più di fiori"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Che del ciel, che degli Dei"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Sesto, de' tuoi delitti"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Ma che giorno è mai questo?"
Mozart: La clemenza di Tito, K.621 / Act 2 - "Tu, è ver, m'assolvi, Augusto"
I. Allegro
II. Larghetto
III. Allegretto
Beethoven: Piano Concerto No.4 in G, Op.58 - for Piano and Strings Quintett, Candenzas by Robert Levin - 1. Allegro Moderato
Beethoven: Piano Concerto No.4 in G, Op.58 - for Piano and Strings Quintett, Candenzas by Robert Levin - 2. Andante con moto
Beethoven: Piano Concerto No.4 in G, Op.58 - for Piano and Strings Quintett, Candenzas by Robert Levin - 3. Rondo. Vivace
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 1. Adagio - Allegro con brio
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 2. Larghetto quasi Andante
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 3. Scherzo. Allegro
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 4. Allegro molto
I. Molto Allegro vivace
II. Menuetto: Un poco Allegretto
III. Andante espressivo ma con moto
IV. Presto con brio
I. Allegro assai appassionato
II. Scherzo: Allegro di molto
III. Andante
IV. Presto agitato
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Kyrie
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Gloria
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Gratias
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Quoniam
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Credo
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Et incarnatus
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Et resurrexit
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Et vivam venturi saeculi
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Sanctus
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Benedictus
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Agnus Dei
Haydn: Mass No.14 'Harmoniemesse' in B flat. Hob.XXII/14 (1802) - Dona nobis
Ia. Introduzione (Andante espressivo)
Ib. Introduzione (Stringendo [Bars 30-33])
Ic. Introduzione (Allegro)
II. Scherzo (Presto - Intermezzo)
III. Adagio
IV. Presto
I. Allegro vivace
II. Andante, quasi Variazioni
III. Scherzo (Presto)
IV. Allegro molto vivace
I. Andante espressivo - Allegro molto moderato
II. [Scherzo] Assai agitato
III. Adagio Molto
IV. Finale (Allegro molto vivace - Quasi Trio)
Sinfonia Concertante in B flat major Hob. I:105: I. Allegro
Sinfonia Concertante in B flat major Hob. I:105: II. Andante
Sinfonia Concertante in B flat major Hob. I:105: III. Finale: Allegro con spirito
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 1. Allegro
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 2. Largo
Vivaldi: Concerto for 2 Violins, 2 Cellos, Strings and Continuo in G, R.575 - 3. Allegro
I. Preludio
II. Giga
III. Adagio
IV. Tempo di Gavotta
I. Andante
II. Presto
III. Adagio
IV. Allegro
1. Chor: Bleib bei uns, denn es will Abend werden
2. Arie: Hochgelobter Gottessohn
3. Choral: Ach bleib bei uns, Herr Jesus Christ
4. Rezitativ: Es hat die Dunkelheit an vielen Orten
5. Arie: Jesu, lass uns auf dich sehen
6. Choral: Beweis dein Macht, Herr Jesu Christ
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 1. Adagio - Allegro con brio
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 2. Larghetto quasi Andante
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 3. Scherzo. Allegro
Beethoven: Symphony No.2 in D, Op.36 - Chamber Version for Piano, Violin and Violoncello (1805) - 4. Allegro molto
Quartet No. 1 in E-Flat Major, Op. 12
Quartet No. 1 in E-Flat Major, Op. 12
Quartet No. 1 in E-Flat Major, Op. 12
Quartet No. 1 in E-Flat Major, Op. 12
Quartet No. 2 in A Minor, Op. 13
Quartet No. 2 in A Minor, Op. 13
Quartet No. 2 in A Minor, Op. 13
Quartet No. 2 in A Minor, Op. 13
Quartet in E-Flat, Op. Posth.
Quartet in E-Flat, Op. Posth.
Quartet in E-Flat, Op. Posth.
Quartet in E-Flat, Op. Posth.
I. Allegro
II. Largo
III. Allegro
I. Adagio sostenuto e espressivo -
I. Allegro molto piu tosto presto
II. Rondo: Allegro
I. Allegro non tanto
II. Scherzo: Allegro molto
III. Adagio cantabile - Allegro vivace
I. Allegro con brio
II. Adagio con moto sentimento d'affetto


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