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BIBER The Mystery Sonatas. Boston Baroque / Martin Pearlman, Christina Day Martinson. Linn Records 2cds

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Biber The Mystery Sonatas Boston Baroque Linn Records 2Cds

Heinrich Ignaz Franz von Biber
The Mystery Sonatas


Disc 1:
1. Sonata I in D minor ‘The Annunciation’
2. Sonata II in A major ‘The Visitation’
3. Sonata III in B minor ‘The Nativity’
4. Sonata IV in D minor ‘The Presentation of Jesus in the Temple’
5. Sonata V in A major ‘The Finding of Jesus in the Temple’
6. Sonata VI in C minor ‘The Agony in the Garden’
7. Sonata VII in F major ‘The Scourging of Jesus’
8. Sonata VIII in B flat major ‘The Crowning with Thorns’
9. Sonata IX in A minor ‘The Carrying of the Cross’
10. Sonata X in G minor ‘The Crucifixion’

Disc 2:
1. Sonata XI in G major ‘The Resurrection’
2. Sonata XII in C major ‘The Ascension’
3. Sonata XIII in D minor ‘The Descent of the Holy Ghost’
4. Sonata XIV in D major ‘The Assumption of the Virgin’
5. Sonata XV in C major ‘The Coronation of the Virgin’
6. Passacaglia in G minor for solo violin

Boston Baroque / Martin Pearlman, Christina Day Martinson

ABOUT BIBER: THE MYSTERY SONATAS
Heinrich Biber’s astonishingly powerful and deeply emotional Mystery Sonatas represent a triumph of Baroque invention. Boston Baroque’s Christina Day Martinson delivers a technical tour de force, as she navigates the virtuosic challenges presented by the fiendishly demanding changing scordatura.

Boston Classical Review described her live performance as ‘a flourish of technical complexity and musical wizardry’, whilst the Boston Globe wrote, ‘Day Martinson…didn't just survive, she triumphed.’ The adventurous use of six baroque violins in fifteen different tunings creates otherworldly soundscapes that result in a deeply moving and glorious listening experience.

This highly disorientating practice reaches its pinnacle in Sonata XI (The Resurrection) where the middle two strings are crossed over each other both in the peg box and behind the bridge, so that one can literally see a cross on the violin.

The fifteen sonatas have been traditionally grouped into three sets of five: five joyful mysteries, five sorrowful mysteries, and five glorious mysteries.

Boston Baroque’s founder Martin Pearlman plays organ and harpsichord, with Michael Leopold on theorbo and guitar and Michael Unterman on cello.

ABOUT CHRISTINA DAY MARTINSON & MARTIN PEARLMAN
Christina Day Martinson serves as Concertmaster for Boston Baroque; she has been a featured soloist with Boston Baroque, the Handel and Haydn Society, The Bach Ensemble, Tempesta di Mare, the Unicamp Symphony Orchestra in Brazil and the Philharmonisch Orkest Mozart in Amsterdam.

She performed Vivaldi’s Four Seasons in 2008 and Bach’s E major Concerto in 2009 in Boston Baroque’s main series and at the Casals Festival in Puerto Rico. Martinson recorded Vivaldi’s Four Seasons with Boston Baroque for Telarc.

Martin Pearlman is one of America’s leading interpreters of Baroque and Classical music on period and modern instruments.

• Heinrich Biber’s astonishingly powerful and deeply emotional Mystery Sonatas represent a triumph of Baroque invention. Boston Baroque’s Christina Day Martinson delivers a technical tour de force, as she navigates the virtuosic challenges presented by the fiendishly demanding changing scordatura.

• Boston Classical Review described her live performance as ‘a flourish of technical complexity and musical wizardry’, whilst the Boston Globe wrote, ‘Day Martinson…didn't just survive, she triumphed.’

• The adventurous use of six baroque violins in fifteen different tunings creates otherworldly soundscapes that result in a deeply moving and glorious listening experience.

• This highly disorientating practice reaches its pinnacle in Sonata XI (The Resurrection) where the middle two strings are crossed over each other both in the peg box and behind the bridge, so that one can literally see a cross on the violin.

• The fifteen sonatas have been traditionally grouped into three sets of five: five joyful mysteries, five sorrowful mysteries, and five glorious mysteries.

• Boston Baroque’s founder Martin Pearlman plays organ and harpsichord, with Michael Leopold on theorbo and guitar and Michael Unterman on cello.

‘Remarkable technical skill, mental flexibility, physical endurance, and spiritual fortitude are necessary to perform this equally cerebral and visceral work, and Martinson’s presence and prowess astounded more and more by the minute.’ Boston Globe

‘The many technical challenges of this music were no obstacle, as she effectively conveyed the affect and pathos of each piece, bringing out the melodic lines and subtle harmonies enabled by the scordatura.’ Classical Scene

Linn Records 2cds CKD501

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