“The Netherlands was and is the place to go to study period instruments,” says NAF-Fulbright alum Christina Day Martinson.

In 1999, Christina arrived in Amsterdam for her Fulbright year, with the goal to continue pursuing her education in modern violin while also diving into period instruments, specifically baroque violin.

“I wanted more nuance and variety, and baroque and early music practice were all about that,” explains Christina. The baroque violin’s strings are made from a different material (sheep gut) than modern violins, which produces a kind of raw tone quality. While it becomes a ‘finicky’ instrument that is harder to keep in tune, for Christina, the baroque style of playing felt more natural to her strengths and expressions in music.

After undergrad at the New England Conservatory, Christina looked forward to studying under the direction of Vera Beths, a renowned Dutch violin soloist, at the Koninklijk Conservatory in the Hague. Upon landing in the Netherlands, Christina felt at home right away. She became enthralled with the houses, canals, and bridges of the country and felt that her personality aligned well with Dutch culture.

Central to her first semester was modern violin technique; by the end, Christina was handed a baroque bow from Beths in anticipation of a second semester focused on baroque technique. Her interest in baroque was strong, as she states, “When I first immersed myself in [period] instruments, I felt I had found my true voice.” Though the path forward was clear, she quickly learned that her experience would not go as planned.

The morning after a big recital during winter break, Christina awoke with intense pain in her wrist and found herself unable to play the violin. Upon returning to the Netherlands, her pain did not subside, and she was forced to take 6 months off from playing. It would be 2 years before Christina could play without pain. In addition to this devastating injury, being outside of her home country started to produced feelings of intense isolation.

Though she was able to successfully complete her 2-year program in Amsterdam, Christina was surprised to feel a strong affinity for her Canadian and American roots, which she had never identified with in North America. “At one point, I remember hearing James Taylor’s music in Holland and feeling sentimental.” After 2 years in Amsterdam, Christina returned to New England and enrolled in the new historical performance program at Boston University for her Master’s of Music.

Despite the rollercoaster experience, her experience as a NAF-Fulbright student helped Christina chart her path as a professional musician in the US. She debuted as Concertmaster with Boston Baroque in 2006, recorded Vivaldi’s Four Seasons with Telarc records in 2009, and in 2017, her recording of Heinrich Biber’s Mystery Sonatas earned her a GRAMMY® nomination for Best Classical Instrumental Solo. She is the only baroque violinist in history to be nominated in this category.

Christina recognizes the setbacks were all part of the process. “I’ve been Concertmaster under the world’s greatest conductors…The NAF-Fulbright was really the beginning of my journey, and I wouldn’t be where I’m at without it.” Despite the struggle, Christina has made her mark on early music in the United States, with an invaluable education during her time in the Netherlands.