On Oct. 9, I was in my usual seat on the aisle to hear a Lane Series program entitled, "An Italian Sojourn", which featured the Trio Settecento, comprised of Rachel Barton Pine, baroque violin, John Mark Rozendaal, baroque cello, and David Schrader, harpsichord.
One of the strengths of the Lane Series is that it is a loving home for baroque music especially, and this concert made the case for the Lane Series penchant for presenting the best baroque music in the world and the best baroque musicians.
Pine is an incredible violinist technically, which she proved unequivocally when she played the Sonata in D. minor by Pietro Locatelli, especially the unnoted fifth "movement", which was a long and frequently musically irrelevant cadenza that ended up on a ground bass that finally came to a final cadence. Even her peers applauded her performance. Her playing in all of the selections chosen was so sensitive musically and so incredibly gifted in terms of technique, that it is no wonder that her peers folder in such high regard.
Rozendaal is a consummate artist both as regards technique and musical awareness. The same is true of Schrader, who makes the harpsichord into a major instrument by his playing and his filling in of the figured bass as creatively as possible. His new harpsichord was made by Robert Hicks, of Lincoln and based on an harpsichord by Carlo Grimaldi, circa 1703. While I am speaking about instruments, let me add that Rozendaal's cello is an original-backfitted to remove the peg. And Pine's violin is an original, virginal baroque violin (never tampered with when violins became fitted in the 18th-19th centuries to play the classical and later literature.)
The literature that they played during this concert was for the most part of the 17th century, with pivotal works such as the Corelli Sonata in D. Maj., Opus 5, No. 1, which was not only well thought of musically, but whose. music became the ideal format for future composers.