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Grace Lutheran Church
November 22, 2009
Julia Wedman, one of Canada's fastest rising early music stars, has made a careful study of Biber's famous "Mystery" (or "Rosary") Sonatas that took her recently to Salzburg, and the Aula Academica where these remarkable works were likely premiered. The walls of the Aula Academica are lined with paintings corresponding to the fifteen mysteries of the rosary. Wedman hypothesizes that Biber's sonatas are musical companion pieces, each inspired by the corresponding painting. Wedman's performance made a convincing musical case for her hypothesis, a case that revealed new depths in Biber's masterpieces.
In the hands of many violinists, the Mystery Sonatas are simply vehicles to display the formidable technique that is needed to play them. The double and triple stops are challenging enough, but add in the scordatura tuning and these really are party pieces. (Three violins, constantly retuned, were need for the performance.) In Wedman's hands, however, the sonatas are more than that. They are miniature operas.
As Wedman played each sonata, slides of the Aula Academica paintings were projected above the stage so that audience members could judge for themselves the relationship between the music and the images. This greatly enriched appreciation of the music.
This evening, we heard nine of the fifteen sonatas of the cycle: three Joyful Mysteries ("The Visitation", "The Nativity" and "The Presentation of Jesus at the Temple"), three Sorrowful Mysteries ("The Agony in the Garden", "The Scourging at the Pillar", and "The Crucifixion") and three of the Glorious Mysteries ("The Resurrection," "The Ascension" and "The Assumption of the Virgin.")
Wedman's approach to the Mystery Sonatas can be illustrated by reference to No.7, "The Scourging at the Pillar." The principal figure in the Aula Academica painting corresponding to this mystery is Mary, who was not present at this event. Mary is in repose, and an angel shields from her from the drama playing out in the background. The scourging is a harrowing event, but the music is mainly serene and restful (and perfectly rendered as such by Wedman). Seen as an interpretation of the painting, the music makes perfect sense. The final movement ("Variato") of the piece is musical representation of the scourging and was accompanied by a detail of the corresponding image, depicting Christ at the post. The playing here – not only by Wedman but by her accompanists as well – was intense, but not so tightly wound as to be unbearable: bearable, perhaps, because of the Christian message of hope that is manifest in the music and in the painting.
Similarly, Mary features prominently in the painting of the Crucifixion. Wedman interprets the middle movement of the corresponding sonata ("Aria") as the weeping of Mary. This sonata was rendered with many deft touches: among them the delicate pp final note of the first movement ("Praeludium") and the short silences as the final movement ("Andante") closes, each pause sounding for all the world as if the merciful release of death is about to come. Then, abruptly, it did.
The performance was full of lots of highlights, but I feel the need to mention the second movement ("Surrexit Christus hodie") of "The Resurrection." The organ gracefully stated the lovely theme before it was taken up by the violin. The theme is then played in octaves on the violin, which is rendered more easily playable by the reversal of the D and A strings. The resulting effect contributes greatly to the sense of Christ ascending into heaven.
Another highlight was the "Guigué" that represents the Assumption of the Virgin. After an intricate cadenza, there is a sparking country dance: just the thing to celebrate the peasant girl who becomes the Queen of Heaven. Wedman rendered this in true hoedown fashion.
Without a varied realization of the continuo line, a performance of nine of the Mystery Sonatas could (even when performed by Wedman) begin to try the patience of listeners. Fortunately, the basso continuo. was realized by almost every possible combination of organ, harpsichord, cello, viola da gamba, archlute and theorbo.
Some of the highlights of the continuo playing: in "The Visitation" sonata, the notes of Hensley's theorbo were like drops of rain falling in a deep pool; Bonham's moody, atmospheric viola da gamba playing in "The Presentation of Jesus at the Temple"; sensitive organ playing by Fairbank in the same sonata; and the cello mimicking a trumpet that heralds the Resurrection.
Wedman plans to record the Mystery Sonatas. If you heard this performance, you will definitely be planning to acquire a copy of the recording. If you weren't there take my word for it: buy one. I will definitely acquire a copy of Wedman's recording, even though I already have two others, one of them (featuring violinist John Holloway on Virgin Classics) among my all time favourite recordings.
All in all, this was an evening of intelligent and sensitive music making. It was not perfect. An inordinate amount of time, even by period instrument standards, was spent tuning the stringed instruments (even though an assistant retuned the spare violins back stage). And even so the intonation was not always perfect. (The use of scordatura complicates matters immensely.) Still, it would be churlish to dwell on any minor imperfections, which will surely be eliminated on the recording.
This sold out performance was a fundraiser for the Our Place Society, which provides housing for Victoria's homeless. If you are inclined to support this worthwhile endeavour, you can visit the Society's website: www.ourplacesociety.com.
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