Tekla Cunningham, violin: H.I.F. von Biber: Mystery Sonatas, Part III – The Glorious Mysteries
Suggested donation: $20 ($12 student/senior) or pay what you can
- Tekla Cunningham, baroque violin
- Tess Roberts, viola da gamba
- Henry Lebedinsky, organ & harpsichord
Georg Reutter der Ältere — Canzona on "Christ ist erstanden"
Johann Jakob Froberger — Capriccio in G
Johann Pachelbel — Toccata and Magnificat-Fugue in F
Johannes Schenck — Scherzi musicali for viola da gamba and continuo, Op. 6 (Gigue and Sarabande in A minor)
We regret to announce that due to unforeseen circumstances, Elisabeth Reed is not able to travel to Seattle to perform in this concert. In her place, we welcome emerging viola da gamba player Tess Roberts.
The Mystery Sonatas, also known as the Rosary Sonatas, are three sets of 5 sonatas for violin and continuo (plus a concluding Passacaglia for solo violin) that were completed around 1676 by Biber, the leading violin virtuoso of the 17th century. Dedicated to the Archbishop Gandolph in Salzburg, these sonatas are as compelling, affecting and moving as they were when they were written almost 350 years ago. Scored for a single violin supported by continuo, Biber employs a different tuning for each sonata. Only the first sonata (the Annunciation) and the final Passacaglia share the standard G-D-A-E tuning. This technique of mistuning the violin, called scordatura, gives a tremendous range of affects and emotions to this music. Retuning brings the violin into different key areas and creates a kaleidoscope of overtones and sonic effects, helping Biber to create specific feelings or affects in the listener. Celebrated Seattle violinist Tekla Cunningham performs The Glorious Mysteries, which include the events from the Resurrection to the Assumption of the Virgin and Coronation of the Virgin, as part of a series of concerts presenting the entire cycle of 15 sonatas.
Mystery Sonatas to be performed:
- "The Resurrection"
- "The Ascension"
- "Pentecost"
- "The Assumption of the Virgin"
- "The Beatification of the Virgin"
- "Passacaglia"
About Tekla Cunningham, baroque violin
Baroque violinist Tekla Cunningham delights in bringing the music of the baroque, classical and romantic eras to life with vivid and expressive historically informed performances.
Praised as "a consummate musician whose flowing solos and musical gestures are a joy to watch", her performances have been described as "ravishingly beautiful" and "stellar". Her greatest musical love is music of the baroque and chamber music of all stripes, though she can’t seem to quit Johannes Brahms. She is co-artistic director of Pacific MusicWorks in Seattle, artist-in-residence at the University of Washington and founder and director of the Whidbey Island Music Festival.
Tekla plays regularly as concertmaster and principal player with the American Bach Soloists. Her new release 'Stylus Phantasticus' with Pacific MusicWorks is delighting critics. "Tekla is a marvel…an endlessly songful bird". Early Music America describes the recording as "played with verve, the music presented here reaffirms the old notion that instrumental music can have the flair of any theatrical spectacle. … a stellar vessel for the boldest showmanship".
Tekla plays on a violin made by Sanctus Seraphin in Venice in 1746.
http://www.teklacunningham.com/About Tess Roberts, viola da gamba
Emerging viola da gamba player Tess Roberts has been exploring the world of early music through the viol since age 11. Recent performances include appearances with Tekla Cunningham for Heinrich Biber's Glorious Mystery Sonatas, the University of Washington Baroque Ensemble, Seattle's Medieval Women's Choir, and guest appearances with Seattle Historical Arts for Kids.
Tess has also enjoyed teaching opportunities at Seattle Historical Arts for Kids, UC Davis, the University of Washington, and has recently opened a private viola da gamba studio in Seattle. She is currently studying with Caroline Nicolas after graduating from the studios of Lee Innman and Shulamit Klinerman. She leads casual play-in and coaching sessions of historical music and performance practices for the local viol community. She hopes to broaden her teaching to early childhood music education with a global music focus, by studying Ethnomusicology at the University of Washington as she prepares for graduate studies in Gamba performance in Europe.