NOVA CHAMBER MUSIC SERIES, Libby Gardner Concert Hall, Feb. 13
The music of Heinrich Biber is almost never played in the concert hall and most concertgoers probably aren’t even aware of him. However, Biber was the most significant German violinist of the second half of the 17th century as well as one of the most influential composers of the period.
Sunday’s NOVA concert opened with one of his violin sonatas, the Rosary Sonata No. 1 (“The Annunciation”), played by violinist Gerald Elias and organist Jason Hardink. Most of Biber’s works are sacred in nature, including his instrumental music. The 15 Rosary Sonatas depict the 15 mysteries of the rosary, and the first sonata is a short description of the angel Gabriel announcing to the Virgin Mary that she will give birth to the son of God.
The emotional content of the sonata is surprisingly high given the limited musical and expressive resources of the period. And Elias, with understated accompaniment by Hardink, gave a heartfelt reading that captured the solemnity of the music wonderfully.
The first half continued with two works by J.S. Bach – a set of canons from The Musical Offering and the Trio Sonata in C major, BWV 1037.
The “suite” of six canons that were played worked wonderfully together. Elias and Hardink (on harpsichord) were joined by violinist Hasse Borup and cellist Walter Haman. They captured the expressiveness of the pieces perfectly. Their playing was textured and lyrical, and their nuanced readings brought out the subtleties of each piece beautifully.
The foursome also played the trio sonata. Elias and Borup played with finely crafted expressiveness and lyricism and a fine balance between the two parts. It was fluid and seamless and together with Hardink and Haman they brought rhythmic vitality to their interpretation.
The second half was devoted to one work, Johannes Brahms’ Sextet in G major, op. 36. This is one of the composer’s most lyrical pieces. It doesn’t have the dramatic outbursts, impassioned intensity and restless energy that characterize much of his music. Instead it’s warm and expansive, subdued and subtle.
Violists Carl Johansen and Julie Edwards and cellist Kevin Shumway joined the other string players in a magnificent account of the work that brought out the gorgeous lyricism of the music. Their richly textured playing was seamless and infused with finely crafted lines and subtle expressions. It was a performance that was of the highest musical order.