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Judith Cox


My journey on the Biber/Biber path is one that is full of both excitement and apprehension--taking this path not only begins the search for meaning behind each composer's writings, but also puts me back in relationship with mentors whose guidance shaped my approach to music. Music immerses me in a way that can be spiritual, reflective or transformative, but it also affects how I feel. These emotions are bound to be different at different periods of my life, so this makes every performance a unique adventure. For me, the challenge of interpreting this music is to respect the intentions of a composer while honoring those who have gently pointed me in the direction that has led to this moment. 


Performing all of the Bach Solo Partitas retraces the steps I took to learn them all those years ago, from the age of 13 until 49. Solo Bach is a staple of every violinist's core training. But when I revisit each during this process, now I am inspired by this composer's deep devotion, spirituality and amazing creativity. Bach remains larger than life for me, and performing these masterpieces is a privilege and deepens my love for this composer. I hope to do them justice.

When I first met Baroque violinist Stanley Ritchie at Indiana University in the 1980's, I was struck by his profound kindness, brilliance and knowledge. Learning the final Passacaglia of the Rosary Sonatas with him was like diving into a new world. It stuck with me, and I have performed the Passacaglia with modern and baroque tuning and Baroque bow. But realizing that this sonata was only the tip of the iceberg of a much larger body of work was intriguing. And connecting with Baroque violinist Andrew Manze, whose Rosary Sonata recordings are peerless, has been an invaluable source of guidance.

The events that took place around the pandemic of 2020 have changed my approach to music. I did not realize that as the world struggled, my inner world was expanding, and I was finding deeper meaning to the music that I had always appreciated but maybe hadn't always felt. Somehow the role of music in today's world seems different, more important, maybe more present. There is an urgency to find meaning at a time when so many events create uncertainty about why we are here. Maybe it is because we are here that the path becomes more certain.


Julie Ryder



Julie Ryder



In the summer of 2019, Judith approached me about a possible partnership in presenting Heinrich Biber’s Rosary Sonatas. At that time, I was several years into the planning of a national convention of the American Guild of Organists as part of the convention steering committee. Not knowing anything at all about these extraordinary pieces, I thought we could perform them as part of pre- or post-convention concerts that would take place in July of 2020—all of them in one recital! Of course I soon learned that a single concert was an unrealistic undertaking and that Judith’s plan was to perform them all over the course of a few years. Spending most of my “free time” on the convention, the Sonatas did not hold much of my attention in the coming months and fairly soon after our first read-through of Sonata I, the Covid-19 pandemic put this project on hold and of course caused the cancelation of the AGO National Convention.

In the spring of 2023, Judith asked me if I had an interest in beginning again and since that time, during my study and practice of these sonatas, I find that I am equally inspired and awe-struck at nearly every turn. The vision and creation of music that is able to move the performer and the listener is miraculous and is a worthy framework for meditation and worship.  

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