Baroque Violin Sonatas (Biber et al.)

This album featuring baroque violinist Elfa Rún Kristinsdóttir, dips into the same collection of Biber violin sonatas that were the feature of recent releases by Rachel Podger and Bojan Cicic. However, to be fair, this one was recorded in Berlin in 2019 and was released a year later.

Sabine Erdmann plays a small organ in this album, alongside Magnus Andersson on lute. Works by Biber are accompanied by the D minor sonata by Böddecker, two works by Schmelzer, and an A minor sonata by Kindermann. To say the least, this is a period of development in this genre that for me is exciting.

I’d earlier enjoyed an album by Kristinsdóttir performing Bach’s violin concertos. This disc is an opportunity to get to know the artist more intimately. The liner notes eschew historical background for some stories by the artists, which I found refreshing. For those craving history, a timeline of the composers is provided, which, if you’re a collector, I think is adequate given how many recordings by the like of Biber or Schmelzer you may already own.

I mean, you’re here and you’re a Biber fan, right?

Biber E minor sonata, C. 142

As mentioned before, I quite like this sonata. This reading is quite engaging, with good tempi, and good cohesion among the musicians who are in good sync. Kristinsdóttir plays quite confidently. I’d go so far to say that Podger’s reading is a bit more extroverted, and the sound in her recording is less polished, with more grit. But nevertheless, this is an excellent performance.

Schmelzer Sonata in D major

This sonata is broken down into tracks on the album. More of the same great synergy between musicians is evident in the opening Passacaille. I likely became first acquainted with this sonata from the likes of Andrew Manze (1996, Harmonia Mundi) another champion of this work is John Holloway (1999, ECM New Series).

The Manze recording with Romanesca also featured organ and lute. The balance of that recording for my taste was not ideal, but given the desires of Manze to duck behind and in front of his colleagues, it’s a different recording style. Manze sometimes had a habit for me of not fully realizing every piece’s potential; the opening slow tempo for me alongside the prominence of the organ in the balance pushes his recording back.

The organ in Holloway’s recording is a mysterious sound; it’s joined by harpsichord. Too, for me, I prefer Kristinsdóttir’s energy in the opening. The sound of her recording, I feel too, is superior.

And this speaks to anyone taking on recordings of material that’s already been recorded: be poised to say something different, potentially something better. Listen to the way Kristinsdóttir manages the phrasing with dynamics and articulation in the third section, marked Gigue. The organ used is warm, the lute supportive and decorative without calling itself out. Nicely balanced. By the time we fall into the final section, Kristinsdóttir is again exuding the same character of phrasing and articulation, pushed forward by confident playing. There’s more urgency in her approach than either Manze or Holloway. A win for us!

Böddecker D minor Sonata

I first heard this sonata from the album by the Rare Fruits Council, led by Manfredo Kraemer (2003, Astrée). Like this album, it’s a compendium of multiple sonatas from the middle baroque. While the sound quality of this album suffers somewhat from a muffled sound, the performances are full-blooded and each exciting.

Kristinsdóttir and company open the album with this piece; which offers a striking opening, putting the violinist out front without any scaffolds, demanding double stopping then fast runs. The tempos chosen here, as throughout the album, for me, feel quite natural and well chosen; they slow when appropriate to draw things out, but never too much; their faster tempi encourage us to tap our feet or at least a toe inside one’s shoe.

This piece clearly demonstrates the strong arrival of the instrumental ensemble, taking the music to heights that a single voice would have not been able to do. I can’t speak to the function of this sonata, but as presented here, I can’t help but think of a religous function or inspiration, à Biber’s own Rosary Sonatas. The bag of tricks the composer pulls out makes this a loaded affair of exciting, kaleidoscopic changes. And yes—it’s played expertly here.

Conclusions

I did bad by ignoring this album for review when it originally came out; I will confess that I noticed Johan Van Veen recently reviewed it and I immediately went back to audition it fully. And it was the most pleasant surprise to experience the excellence these musicians delivered track after track. I agree, this is an important recording and one deserving of your audition.