Classical | Label: Various | Catalog Number: Various
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Biber was one of the most important composers for the violin in the history of the instrument. His technique allowed him to easily reach the 6th and 7th positions, employ multiple stops in intricate polyphonic passages, and explore the various possibilities of scordatura tuning. He also wrote one of the earliest known pieces for solo violin, the monumental passacaglia of the Mystery Sonatas
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The Five Joyful Mysteries
Sonata No.1 in D-: The Annunciation, C.90
1.Praeludium
2.Aria and Variations
3.Adagio
4.Finale
Sonata No.2 in A: The Visitation, C.91
1.Sonata
2.Presto No.1
3.Allamanda
4.Presto No.2
Sonata No.3 in B-: The Nativity, C.92
1.Sonata
2.Courente ; Double
3.Adagio
Sonata No.4 in D-: The Presentation of Jesus in the Temple: Ciacona, C.93
Sonata No.5 in A: The Finding of Jesus in the Temple, C.94
1.Præludium
2.Allamanda
3.Guigue
4.Sarabanda ; Double
The Five Sorrowful Mysteries
Sonata No.6 in C-: The Agony in the Garden, C.95
1.Lamento
2.Aria
3.Adagio
Sonata No.7 in F: The Scourging at the Pillar, C.96
1.Allamanda ; Variatio No.1
2.Sarabanda ; Variatio No.2
Sonata No.8 in Bb: The Crowning with Thorns, C.97
1.Sonata
2.Presto
3.Guigue ; 4.Double No.1 ; 5.Double No.2
Sonata No.9 in A-: The Carrying of the Cross, C.98
1.Sonata
2.Courente ; 3.Doubles
4.Finale
Sonata No.10 in G-: The Crucifixion, C.99
1.Præludium
2.Aria
3.Variatio Nos.1-2
3.Variatio No.3: Adagio
3.Variatio Nos.4-5
The Five Glorious Mysteries
Sonata No.11 in G: The Resurrection, C.100
1.Sonata
2.Surrexit Christus hodie
3.Adagio
Sonata No.12 in C: The Ascension, C.101
1.Intrada
2.Aria Tubicinum
3.Allamanda
4.Courente ; Double
Sonata No.13 in D-: The Descent of the Holy Spirit, C.102
1.Sonata
2.Gavotte
3.Guigue
4.Sarabanda
Sonata No.14 in D: The Assumption of the Mary into Heaven, C.103
1.Praeludium
2.Ciacona: Aria
3.Gigue
Sonata No.15 in C: The Coronation of Mary as Queen of Heaven and Earth, C.104
1.Sonata
2.Aria
3.Canzona
4.Sarabanda ; Double
Sonata No.16 in G-: Sonata of the Guardian Angel, C.105: Passacaglia
Heinrich Ignaz Franz Biber’s Rosary Sonatas for scordatura violin are presented here in concentrated clarity by Veronika Strehlke. Corresponding to this is the economical continuo instrumentation of organ and Baroque violoncello, whose scordatura on this recording has been adapted to that of the violin.
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 8. October 2010, 15:38
V. Strehlke, G. Darmstadt, E. Klepper / Biber - Rosenkranz-Sonaten (Disc 1)
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Heinrich Biber’s Mystery (or Rosary) Sonatas have become better known during the last two generations; from a single complete recording by Suzanne Lautenbacher (originally on LP Vox Box (S)VBX (5)52 and re-released on CD as Vox 171, 20:4), the stream has grown; and live performances seem no longer to be so rare, despite the logistical difficulties these Sonatas present (because of the 15 tunings, violinists need to employ, and presumably practice on, a number of instruments specially set up for the project).
The approach taken by Patrick Bismuth to the set falls between the affecting drama of Eduard Melkus (Musical Heritage Society 524671, 22:4) and the astringent virtuosity of John Holloway (Virgin Classics 790838, 14:6). Bismuth’s sequences of rapid notes at the beginning of Sonata I (“The Annunciation”) might be a translation of the wings of an angel; but, for certain, they’re a fanciful flight of the violinistic imagination. His tempos tend to be rather quick, and his rhythms tautly pointed: the Courante in Sonata III (“The Nativity”), for example, sounds as piquant as the dance title suggests. The first Presto—as well as the second—of the Eighth Sonata, “The Crown of Thorns,” may not bear a dance title, but it shares the alert terpsichorean piquancy of the explicit dances. At times, as during that very Sonata, references that seem charged with religious import seem to rush by, leaving no time for meditation. In Sonatas like the Fourth (“The Presentation in the Temple”) or the Fifth (“The Finding in the Temple”), the lively performances match the cheerful Mystery being explicated; in others, like the Sixth (“Agony in the Garden”) and Seventh (“Scourging at the Pillar”), they seem less pictorial (even the passage often connected with the tearing of the curtain in two or the trembling of the earth in the 10th Sonata, “Crucifixion,” moves along swiftly with little seismic shock). Such a tempo develops irresistible momentum in the hymn of the 11th Sonata (“The Resurrection”) and buoyancy (no irreverence intended) in the 12th (“The Ascension”). In this sequence, the opening of the 13th Sonata (“The Descent of the Holy Ghost”) seems, despite its barrages of thrown, ricochet-like, off-the-string effects, more soberly reflective—as does the usually exuberant Ciacona in the 14th Sonata (“The Assumption”). Bismuth’s pointed articulation and rapid tempo in the Guardian Angel Passacaglia bring preternatural clarity—the piece can sprawl unless regulated, as here, by a strong musical intelligence. The booklet’s notes focus largely on what mathematician Eric Temple Bell once snidely characterized as “sub-mathematical analysis”—the significance of numbers of measures, for example, though, as even their author, Marinette Extermann, concedes, these numerical relationships aren’t “addressed” to the listener.
Patrick Bismuth’s violin or violins, whatever it or they might be (the booklet gives almost no information about the instruments or the other performers), set by the engineers in the web of sound created by the ensemble, hardly ever sounds (or sound) nasal, though its (their) period timbre is unmistakable. The ensemble realizing the continuo consists of eight players, providing a variety of textures, sensitively deployed. (In the spirit of the notes, I might point out that 8 equals 2 raised to the first then to the third power, and the digital root of 213, or 6, also serves as the digital root of 15, the number of the Sonatas—never mind that passacaglia behind the curtain. Of relevance here, of course: the One God, the Two natures of Christ, and the Three Persons in the Blessed Trinity. And my point: that if you ignore anything that gets in the way and employ enough algorithms, you can eventually make anything equal anything else.) The performers also take advantage of opportunities to vary dynamics in a way that’s musically captivating.
These performances will perhaps appeal most strongly to those who wish to listen to the Sonatas primarily as virtuosic, if dramatic, music for the violin, and who have only a secondary interest in relating them to specific religious mysteries (or wish to do so primarily through mathematical manipulations). That’s a take, intentional or not, on the Sonatas that anyone should find for the most part convincing. Recommended.
FANFARE: Robert Maxham
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 8. October 2010, 19:12
Patrick Bismuth, Ensemble la Tempesta / Biber - Les sonates du Rosaire (Disc 1)
Used drive : HL-DT-STDVDRAM GE20NU10 Adapter: 4 ID: 0
Read mode : Secure
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Make use of C2 pointers : No
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Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000
t was a joy and privilege never to be forgotten, to perform and record these sonatas in the Propstei St. Gerold which is a place in this world that really manages to connect heaven and earth and to induce in people a new kind of listening to their inner spiritual self and to each other.
Special thanks go to Father Nathanael for his support and inspirational presence.
Heinrich Ignaz Franz Biber dedicated the Mystery Sonatas to Archbishop Maximilian Gandolph von Khuenburg with the following words: “Here you will hear my four stringed violin using different kinds of tunings [scordature] in various Sonatas, Preludes, Allemandes, Courantes, Sarabandes, Arias, Chacones, Variations, with basso continuo, composed with the greatest care and, so far as my small capability allows, with my best artistic skill. If you want to know the reason for this number, it is this: I have devoted the whole to the honour of the XV sacred Mysteries, which you support so ardently.”
They were conceived in all likelihood to accompany the rosary devotions in Salzburg and to be meditations in the traditional sense of Catholic Mysticism. Today they reach yet another level of spirituality since in performance the magical communication with the audience adds an extra degree of insight into the emotional and religious depths of these pieces.
Even when played just with our duo of baroque violin and double bass we have had the most intense experiences with audiences within a wide range of festivals from old music events to Contemporary Music and even Avant-garde Jazz Festivals.
The continuo group chosen for this recording allows us to bring out a wide variety of colours and illustrate closely the rapid emotional changes within the music. At this point I wish to thank my colleagues for their immense support, wonderful creativity and the ingenious way in which they reacted with great improvisational freedom to the many deeply involving images of the Rosary.
The inclusion of the double bass is an homage to the many amazing occasions the two of us have shared over the years performing some of these sonatas as a duo, but I also feel that the 16 foot register provides the extra depth and earth bound dimension which balances the moments when the music seems to soar weightlessly into heaven.
I have a great respect for the many extremely varied solutions to the continuo part and individual interpretations by my violin colleagues all over the world. The huge variety of approaches and their intensity also proves how close these sonatas are to everybody’s heart, and how deeply committed we all are to do them justice. In a similar way to Bach’s solo Sonatas and Partitas the Mystery Sonatas of Biber are with a violinist for a lifetime and constantly develop and change with our own personal growth and also through the two-way communication with audiences.
ARTISTS
Maya Homburger (baroque violin)
Camerata Kilkenny: Siobhan Armstrong (harp); Sarah Cunningham (viola de gamba); Brian Feehan (theorbo); Malcolm Proud (organ, harpsichord); Barry Guy (double bass)
Heinrich Ignaz Biber was born in Wartenberg (now Stráž pod Ralskem in the Czech Republic) in 1644 and died in Salzburg in 1704. The Rosary or Mystery Sonatas were written during the 1670s and remained unpublished during Biber’s lifetime. The title page for the whole collection is lost so Biber’s name for it is not known. When they were collected together, each sonata had a copper engraving instead of a title page, and this gave yet another name to the collection, the Copper-engraving Sonatas. The exquisitely written manuscripts were rediscovered as late as the 1890s and now rest in the Bavarian State Library.
Apart from the first and last sonatas, the violinist adopts scordatura - the retuning of the violin’s strings to notes other than G, D, A and E - strictly speaking g, d', a', e''. Why do this? Scordatura tunings not only make it easier to play sundry triads in close position but also have their own resonances helping to create the sound needed in each sonata. The Jesuit-inspired Rosary Congregation had great following in Salzburg at that time though it is not known whether or not Biber was a member, and much research has been done on the numerical and other symbolism of these sonatas. The 11th sonata, for example, “The Resurrection,” has two middle strings crossed over, symbolising the crossing over from life to death, and the cross itself. While some will find this very interesting, and more factual than “The Da Vinci Code”, others will find that the music stands alone with confidence.
The accompaniments (basso continuo) to these sonatas are varied, and include organ, harpsichord, ‘cello, theorbo, harp, lirone, bassett and trombone. The violinist, Riccardo Minasi, who can also be heard playing with Jordi Savall’s “Les Concerts de Nations” and Giovanni Antonini’s “Il Giardino Armonico” plays an Amati from 1627 in most of the sonatas, and two violas d’amore in sonatas 12 and 14.
Minasi’s playing is magical – each sonata has its own atmosphere which he brings out with all success. The accompanying instruments are all played with superb sensitivity, never clouding the proceedings, and the ensemble is unforced yet tight. The textures are for the most part wonderfully open and clear, and the high resolution recording allows for tireless listening and an accurate and properly-bodied violin sound. The final part, the passacaglia, is for solo violin and consists of 65 variations on a ground base, a magnificent rendition in this performance; Minasi certainly is a master of his instrument.
Arts has provided an excellent DSD recording, which, as the booklet says, has not been equalized or compressed, and the instruments are placed clearly in the soundstage. A couple of rogue resonances from the theorbo in the 6th sonata apart, the recording is a credit to the engineers. The booklet also contains informative essays about the Sonatas providing a jumping-off point from which to investigate further. The Rosary Sonatas are one of the 17th Century’s richest gems and this recording of them is recommended most highly.
TrackList:
The Joyful Mysteries
1. Sonata No. 1 The Annunciation
2. Sonata No. 2 The Visitation
3. Sonata No. 3 The Nativity
4. Sonata No. 4 The Presentation
5. Sonata No. 5 Jesus in the Temple
The Sorrowful Mysteries
6. Sonata No. 6 The Agony in the Garden
7. Sonata No. 7 The Scourging of Jesus
8. Sonata No. 8 The Crown of Thorns
9. Sonata No. 9 The Carrying of the Cross
10. Sonata No. 10 The Crucifixion
The Glorious Mysteries
11. Sonata No. 11 The Resurrection
12. Sonata No. 12 The Ascension
13. Sonata No. 13 The Descent of the Holy Ghost
14. Sonata No. 14 The Assumption
15. Sonata No. 15 The Crowning of the Virgin
16. Passacaglia
-- Peter Joelson
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 9. October 2010, 10:20
(on original violins by Jakob Stainer, c.1617-1704)
ARTISTS: Daniel Sepec, violins; Hille Perl, viola da gamba; Lee Santana, archlute, theorbo; Michael Behringer: organ, harpsichord.
Heinrich Biber’s Rosary (Mystery) Sonatas—fifteen sonatas for violin and continuo portraying the fifteen Mysteries of the Rosary, and an extended passacaglia for solo violin—constitute a high point in virtuosic Baroque violin music: each sonata employs scordatura, a different tuning of the violin’s strings. Violinist Daniel Sepec presents an authentic interpretation of Biber’s famed sonata cycle on original violins of the celebrated Tyrolean violin maker Jakob Stainer (c. 1617-1683), with outstanding continuo accompaniment by Hille Perl, Lee Santana and Michael Behringer.
(2 SACD)
Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 13. October 2010, 16:31
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