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.

"Christina Day Martinson makes light of the virtuosity of this deeply profound music...The recorded sound and balance are exemplary."
The Strad
"The cycle begins well, with welcome ornaments and interpretative tweaks in the repeats of dance movements…Day Martinson’s approach is deliberate and careful…"
Gramophone
"Performance 3* / Recording 5* - ...gutsy, committed playing, spurred on by the richly varied continuo of Boston Baroque..."
BBC Music Magazine, September 2018
"Achieving a wide range of hues in her tone, Martinson plays the expressive pieces flawlessly, sensitively supported by her Boston Baroque colleagues...The sound quality of these first-rate performances is clear, vivid, and present."
Early Music America, September 2018
"From Linn, Biber: The Mystery Sonatas is granted an emotional reading by the Boston Baroque with Christina Day Martinson and Martin Pearlman."
Classical CD Choice, 30 April 2018
"...a superb rendition of one of the masterpieces of music...This Linn CD is absolutely remarkable."
Blogs Mollat, 4 May 2018
"Best Recordings of 2018: Violinist Christina Day Martinson, concertmaster of Boston Baroque, brings deep feeling and stylistic flair to these meditative works."
Chicago Tribune, 6 December 2018
"Great Boston-area classical albums of 2018: "[Martinson] bypasses mere virtuosity and gives earthy and dramatic performances..."
The Boston Globe, 19 December 2018
"I don’t think I’ve heard a performance that so clearly shows the difference it makes to the sounds of the instrument and therefore the timbre of each sonata..."
BBC Radio 3 'Record Review', 5 May 2018
"...empieza luego susurrando en la chacona de la Presentación, para ir desatándose hasta el borde del delirio, irregular, aristado, cargado de eléctrica expresividad, dentro de una pieza ornamentada con gran imaginación, una de las mejores del registro."
Scherzo, 30 November 2018
"Linn’s sound is extremely immediate; one can almost see Martinson standing in front of you with her instrument."
Fanfare, 10 November 2018
"There are scarcely enough superlatives to say how well Martinson’s handling of this magnificent music works."
Infodad, 7 June 2018
"The gifts of Ms. Martinson are on full display...The booklet, notes, and packaging are luxuriously first rate."
Audiophile Audition, 11 June 2018
"There can be absolutely no doubt of these players’ absolute mastery of this cycle. Martinsson’s performance is fervent, sincere and profoundly skilled."
MusicWeb International, 28 June 2018