Christina Day Martinson

Concertmaster

 

 

October 13
2006


Boston Baroque concertmaster debut

135
Performances


as concertmaster with Boston Baroque

 

 
 

Christina Day Martinson serves as Concertmaster for Boston Baroque. Born in Saskatchewan, Canada, she has been a featured soloist with Boston Baroque, the Handel and Haydn Society, The Bach Ensemble, Tempesta di Mare, the Unicamp Symphony Orchestra in Brazil and the Philharmonisch Orkest Mozart in Amsterdam. A recipient of the NetherlandAmerica Foundation Grant and Frank Huntington Beebe Award, Martinson holds degrees from New England Conservatory of Music, Boston, the Royal Conservatory in The Netherlands, and received her Master of Music in Historical Performance from Boston University.   In 2018, Martinson was nominated for a GRAMMY® Award for Best Classical Instrumental Solo for her tour-de-force performance of the complete cycle of Heinrich Biber’s The Mystery Sonatas, with Boston Baroque.

 

“[Martinson’s] playing [featured] a fearless technique and, best of all, a delightful sense of spontaneity and imagination.”

The Boston Globe

 

Martinson also serves as Associate Concertmaster for the Handel and Haydn Society and has performed as Concertmaster under conductors such as Roger Norrington, Richard Egarr, Bernard Labadie, Martin Pearlman, Nicholas McGegan, Laurence Cummings, and Harry Christophers. Martinson's performances of the complete Mystery Sonatas in 2012-13 were hailed by The Boston Globe as a Top 10 Performance of the Year in 2012 and chosen by Jeremy Eichler for his Top Concerts of 2013.

Martinson has given chamber music recitals in Jordan Hall, Boston, Ishihara Hall, Japan, at the Thüringen Bachwochen in Germany, the Casals Festival, Puerto Rico, and at the Leuven Festival in Belgium. Martinson recorded Vivaldi’s Four Seasons with Boston Baroque for Telarc. “This is story-telling par excellence, Martinson’s polished technique and elegant musicianship fired in the kiln of imagination to produce mind-pictures of such vividness that the Greek term ekphrasis, with all its rhetorical associations, hardly covers it” – Gramophone