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43-578: The Rosary Sonatas ( Rosenkranzsonaten , also known as the Mystery Sonatas or Copper-Engraving Sonatas ) by Heinrich Ignaz Franz Biber are a collection of 15 short sonatas for violin and continuo , with a final passacaglia for solo violin. Instead of a title, each sonatas has a copper-engraved vignette related to the Christian Rosary practice, and possibly to the Feast of

86-577: A bass pattern which is the same as that of the first line of a hymn to the Guardian Angel. It is considered the most "outstanding work of its type before the Bach Chaconne. " IV—III—II—I This table uses standard scientific pitch notation to designate octaves. (In this system "middle C" is called C4.) [REDACTED] Biber's Rosary Sonatas were probably the sole European work to have an influence on early American minimal music . It

129-543: A collection and replaced out of place suites with new compositions. However, as they are assembled into a remarkably coherent large-scale form which is also relevant to the given title, Mystery Sonatas . The 15 Mysteries of the Rosary , practised in Rosary processions since the 13th century, are meditations on important moments in the life of Christ and the Virgin Mary . During these processions, followers walked around

172-402: A cycle of fifteen paintings and sculptures that were placed at specific points of a church or another building. In this tradition, at every point a series of prayers was to be recited and related to the beads on the rosary. The correlation between the fifteen sonatas and fifteen paintings were therefore allowed the composition to be given the title Rosary Sonatas . When they performed this ritual,

215-581: A “renaissance” of Biber's work through concerts and other forms of presentation. Before then, the Mystery Sonatas were usually enjoyed and studied by Baroque enthusiasts. In 2004, three new recordings emerged by Andrew Manze , Pavlo Beznosiuk and Monica Huggett , showing new interest in this particular work by Biber. The newfound enthusiasm towards the Mystery Sonatas is evident in Eichler's account of Biber's scordatura usage: "Each new configuration

258-453: Is Harmonia artificioso-ariosa (1696), his last known published collection of instrumental music. It contains seven partitas for two instruments and basso continuo: five for two violins, one for two violas d'amore , and one for violin and viola. Six of the partitas require scordatura tunings, including those for viola and two violas d'amore; Biber uses the full potential of the technique, including all possibilities for complex polyphony: some of

301-458: Is a secret key to an invisible door, unlocking a different set of chordal possibilities on the instrument, opening up alternative worlds of resonance and vibration." He adds that "Manze makes the strongest impression, not only for the interpretive freedom and vitality in his account but also for the elegantly uncluttered arrangement in which he presents the music, with only keyboard accompaniment (and, on one occasion, cello)." Eichler points out that

344-496: Is a set of six partitas for one or two violins, viola, cello, and basso continuo, and Fidicinium sacro profanum comprises twelve sonatas for one or two violins, two violas, and continuo. Finally, manuscript sources include numerous other pieces: fantasias, balletti, sonatas, etc. Among these are the Battalia , a programmatic "battle" piece which anticipates such latter-day techniques as polytonality and col legno playing, and

387-536: Is not coincidental that most of the autograph compositions Biber sent to Kremsier date from the early 1670s. Biber remained in Salzburg for the rest of his life. His musical and social careers flourished: he started publishing his music in 1676, performed before the Emperor Leopold I (and was rewarded by him) in 1677, became deputy Kapellmeister at Salzburg in 1679 and Kapellmeister in 1684. In 1690 Biber

430-443: Is prized for its virtuosic vocal style, scordatura tunings, and its programmatic structure. Biber wrote a large body of instrumental music and is most famous for his violin sonatas, but he also wrote a large amount of sacred vocal music, of which many works were polychoral, with a notable example being his Missa Salisburgensis . In his sonatas for violin, Biber integrated new technical skills with new compositional expression and

473-580: Is widely performed and recorded. Biber was born in Wartenberg, Bohemia (now Stráž pod Ralskem , Czech Republic). Little is known about his early education, other than that he may have studied at a Jesuit Gymnasium at Troppau in Bohemia, and that he may have had musical education by a local organist. Before 1668 Biber worked at the court of Prince Johann Seyfried von Eggenberg in Graz , and then he

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516-505: The Mystery Sonatas arranged for the ensemble Musica Alchemica and basso continuo . Heinrich Ignaz Franz Biber Heinrich Ignaz Franz Biber ( bapt. 12 August 1644, Stráž pod Ralskem – 3 May 1704, Salzburg ) was a Bohemian-Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince-Bishop Karl Liechtenstein-Kastelkorn , and settled in Salzburg . He remained there for

559-564: The Rosary Sonatas are often over-interpreted and taken too literally considering the uncertainty of the original context and intention, and that this restricts the listener's chance to draw from a large variety of possible meanings. Manze himself explains that the tendency of modern performers to use a large bass section as accompaniment is counterproductive to "the music's raison d'être: to evoke an intimate, private atmosphere suitable for prayer and meditation". Eichler also suggests that

602-603: The Sonata representativa , another typical 17th-century piece similar to works by Walther and Farina, which imitates various birds and animals. An example of Biber's versatility in instrumental music is the Sonata S Polycarpi , which is scored for eight trumpets and timpani. Unlike most composers for the violin, Biber did not limit himself to music for the instrument. He was also a prolific composer of sacred vocal works: masses , requiems , motets , etc. Many of those were polychoral and employing large instrumental forces, inspired by

645-729: The Abbey. On 3 November 1692, Biber was appointed steward by Archbishop Johann Ernst. He then received his Coat of arms . Biber died in Salzburg in 1704. His grave is located in the Petersfriedhof . Biber's violin music was possibly influenced, on one hand, by the Italian tradition of Marco Uccellini and Carlo Farina , and on the other, by the then-nascent German polyphonic tradition as exemplified by Johann Heinrich Schmelzer , who may have been Biber's teacher. Biber's achievements included further development of violin technique – he

688-518: The Guardian Angels . It is presumed that the Mystery Sonatas were completed around 1676, but they were unknown until their publication in 1905. While Biber lost much popularity after his death, his music was never entirely forgotten due to the high technical skill required to play many of his works; this is especially true of his violin works. Once rediscovered, the Mystery Sonatas became one of Biber's most widely known composition. The work

731-548: The Salzburg court, and the latter was promoted to Kapellmeister in 1743. Daughters Maria Cäcilia (born 1674) and Anna Magdalena (1677–1742) became nuns at Santa Clara, Merano , and the Nonnberg Abbey , respectively. Anna Magdalena was an alto singer and a violinist, and in 1727 became director of the choir and the Kapelle of the Abbey. She used her father's Singfundament , a basic singing instruction book, for her work in

774-586: The Sorrowful Mysteries, Biber uses scordatura tunings that tone down the violin's bright sound, creating slight dissonances and compressing the range from the lowest to the highest string. By restricting the range, the violin produces conflicting vibrations that contribute to the expression of tension in the suffering and despair from the Sweating of Blood through to the Crucifixion. The last of

817-747: The Sorrowful Mysteries, the Crucifixion, uses a more sonorous tuning to underline the significance and awesome emotion within the events of Jesus' last hours of pain. The Glorious Mysteries include the events from the Resurrection to the Assumption of the Virgin and Coronation of the Virgin. The Resurrection opens the last cycle of sonatas, with the most impressive open and sonorous tuning, underlining its otherworldly theme. The remaining four Glorious Mysteries are also composed using bright, major scordatura tunings. The following Passacaglia in G minor uses

860-506: The best and most influential violinists in Europe. However, soon after his death, German violinists started following the style of Arcangelo Corelli and his imitators. Biber's finest scordatura writing is represented in two collections. The first dates from c. 1676 and is known variously as Mystery Sonatas , Rosary Sonatas ( Mysterien Sonaten , Die Rosenkranz-Sonaten ), Copper-Plate Engraving Sonatas , etc., remaining unpublished during

903-410: The composer's lifetime. It comprises sixteen pieces: fifteen sonatas for violin and continuo portraying the fifteen Mysteries of the Rosary , and a long passacaglia for solo violin. In the extant copy of the collection, each piece is accompanied by a small engraving depicting the mystery it portrays, while the image (an ink drawing) preceding the passacaglia depicts a guardian angel with a child. Only

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946-499: The devotion to the life of Christ and the Virgin Mary. Biber's scordatura helped timbres that were relevant to the themes of each mystery. Apart from the first and last sonatas, each is written with a different scordatura, a technique which provides the instrument with unusual sonorities, colors, altered ranges and new harmonies made available by tuning the strings of the instrument down or up, creating different intervals between

989-408: The earliest known pieces for solo violin, the monumental passacaglia of the Mystery Sonatas . During Biber's lifetime, his music was known and imitated throughout Europe. In the late 18th century he was named the best violin composer of the 17th century by music historian Charles Burney . In the late 20th century Biber's music, especially the Mystery Sonatas , enjoyed a renaissance. Today, it

1032-528: The faithful also listened to the corresponding biblical passages and commentaries. According to Holman, it is presumed that at the time they would listen to Biber's musical commentary to accompany this ritual of meditation. Each sonata corresponds to one of the fifteen Mysteries, and a passacaglia for solo violin which closes the collection, possibly relating to the Feast of the Guardian Angel which, at

1075-502: The first and the last pieces use normal tuning; all others employ some form of scordatura : [REDACTED] The sonatas were dedicated to Maximilian Gandolph von Khuenburg, whom Biber addresses in the preface: "I have consecrated the whole to the honour of the XV Sacred Mysteries, which you promote so strongly." Although unpublished during the composer's lifetime, these works are his most popular pieces today, and one of

1118-531: The instrument. Finally, much of Biber's music employs various forms of number symbolism , affekte , programmatic devices, etc., as seen in the symbolic retuning of the violin for the Resurrection sonata of the Mystery Sonatas . During the latter half of the 17th century Biber was, together with the composers of the Dresden school ( Johann Jakob Walther and Johann Paul von Westhoff ), regarded as one of

1161-426: The missing title page, it is uncertain what Biber intended the formal title of the piece to be and which instruments he intended for the accompaniment. Although scholars assume that the sonatas were probably written around the year 1676, there is evidence that they were not all written at the same time or in the same context. This means that Biber could have collected the sonatas from his previously composed works to form

1204-982: The pieces are in five parts, with both of the melodic instruments carrying two. No other chamber works by Biber use such devices, and the only other pieces to use scordatura are two of the sonatas included in Sonatae violino solo of 1681. That collection comprises eight sonatas for violin and basso continuo, all noted already by Charles Burney in the late 18th century, for the brilliant virtuosic passages and elaborate structures. In contrast to both Mystery Sonatas and Harmonia , these works consist mostly of pieces in free forms (prelude, aria) or variations, rather than dances. Biber's other published collections of instrumental music are Sonatae tam aris quam aulis servientes (1676), Mensa sonora (1680), and Fidicinium sacro profanum (1682/3). Sonatae tam aris contains sonatas in five, six or eight parts; some of them only use string instruments, some include one or two trumpets. Mensa sonora

1247-678: The possibilities of the spacious interior of the Salzburg Cathedral . Among the polychoral works, Missa Salisburgensis (1682) is the best known. An expansive setting of the mass for sixteen voices and 37 instrumentalists (i.e. 53 parts total), it was previously attributed to Orazio Benevoli , but today Biber's authorship is certain. The instrumentation includes not only string ensembles, but also oboes, cornetts , trumpets, and timpani . Among his many polychoral works are Plaudite tympana à 53 (1682) Vesperae à 32 (1693), Missa Bruxellensis (1696) and Missa Sancti Henrici (1697), which

1290-465: The purchase of new instruments for the Kapelle. Biber never reached Stainer, however, and instead entered the employ of the Archbishop of Salzburg , Maximilian Gandolph von Kuenburg. Because Karl and Maximilian were friends, Biber's former employer refrained from taking any action; he was, however, very hurt by the composer's decision, and waited until 1676 to officially issue his release papers. It

1333-510: The reasons for the revival of interest in his music. The entire set has been recorded by numerous violinists such as John Holloway , Andrew Manze , and many others. Sonata 15 is famous for one of its themes, which matches the theme of Paganini 's Caprice No. 24 almost exactly; it is possible that Paganini was inspired by Biber, just as Franz Liszt , Johannes Brahms and Sergei Rachmaninoff were later inspired by Paganini's Caprice. The second work in which Biber explored scordatura techniques

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1376-496: The rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours. Biber was among the major composers for the violin in the history of the instrument. His own 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. Among other pieces, Biber wrote operas, sacred music and music for chamber ensemble. He also wrote one of

1419-514: The sonatas are best enjoyed when listened to from beginning to end, as a journey that is brought to life through the different varieties of sound and color that the scordatura lends to the instrument. The Australian chamber trio Latitude 37 performed the complete Rosary Sonatas at the inaugural Brisbane Baroque festival in April 2015. Also in 2015, Spanish violinist Lina Tur Bonet  [ es ] released her own particular interpretation of

1462-476: The strings than the standard tuning . It was first used in the early 16th century and was most popular until approximately 1750. In literature for strings, scordatura is usually written in a way that the performer reads and plays the notated fingering as if the instrument were tuned conventionally. This means that the performer sees particular notes but hears them differently when played, which can be difficult to perform. Biber uses scordatura primarily to manipulate

1505-460: The time, was a celebration that took place on different dates near those of the rosary processions in September and October. Just as the 15 Mysteries are divided into three cycles, the 15 sonatas are organized into the same three cycles: five Joyful Mysteries, five Sorrowful Mysteries and five Glorious Mysteries. In the manuscript each of the 15 sonatas is introduced by an engraving appropriate to

1548-665: The violin's tone color as well as allow for otherwise impossible chords on a violin with standard tuning. Through the progression of the sonatas, scordatura presents a number of difficulties to overcome, with the peak of difficulty located in the Sorrowful Mysteries. The Joyful Mysteries depict episodes from the early life of Jesus, from the Annunciation to the Finding in the Temple . The last four Joyful Mysteries use tunings with sharps that create bright and resonant harmonies. In

1591-509: The voice parts. Although Biber is best known for the massive polychoral works, he was also capable of writing for smaller forces. Missa quadragesimalis is a simple a cappella setting (with only a continuo part provided) for four voices, as is the Stabat Mater . Standard tuning The most popular bowed strings used nowadays belong to the violin family ; together with their respective standard tunings, they are: The double bass

1634-401: Was able to reach the 6th and 7th positions , and his left-hand and bowing techniques were far more advanced than those of contemporary Italian composers. He also excelled at counterpoint, frequently writing fully polyphonic textures, with much use of multiple stops . Yet another area in which Biber made a substantial contribution was the art of scordatura , i.e. music for alternative tunings of

1677-568: Was composed for the occasion of the taking of the veil by his second daughter, Anna Magdalena, at Nonnberg Abbey in Salzburg. In tribute to the Emperor Henry II , the second founding saint of the convent , she took the name Maria Rosa Henrica when her novitiate began in 1696. The Mass of Saint Henry is scored for a five-voice choir with two soprano lines and an orchestra of two violins, three violas, two trumpets, timpani and continuo, with optional extra trumpets and sackbuts to double

1720-543: Was employed by the Bishop of Olomouc , Karl II von Liechtenstein-Kastelkorn , in Kroměříž . Biber's associate from the early 1660s, Pavel Josef Vejvanovský , worked there as director of the Kapelle. Biber apparently enjoyed a good reputation, and his violin playing skills were very highly regarded. In summer 1670 Karl II sent Biber to Absam , near Innsbruck , to negotiate with the celebrated instrument maker Jacob Stainer for

1763-605: Was himself able to accomplish techniques that few violinists could at his time. The Mystery Sonatas include very rapid passages, demanding double stops and an extended range, reaching positions on the violin that musicians had not yet been able to play. The original manuscript is stored in the Bavarian State Library in Munich. There is no title page, and the manuscript begins with a dedication to his employer, Prince-Archbishop Max Gandolph von Kuenburg . Because of

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1806-675: Was raised to nobility by the Emperor, with the title of Biber von Bibern. Finally, the new Archbishop of Salzburg, Johann Ernst, Count Thun, appointed Biber lord high steward, the highest social rank Biber would attain. The composer was married on 30 May 1672 at the bishop's summer residence, Hellbrunn Palace , just outside Salzburg. His wife Maria Weiss was a daughter of a Salzburg merchant, citizen and tradesman, Peter Weiss. Together they had 11 children, four of whom survived to adulthood. All were musically gifted. Anton Heinrich (1679–1742) and Carl Heinrich (1681–1749) both served as violinists at

1849-528: Was through playing them that violinist Tony Conrad formed an interest in alternative tuning, studied the subject, and introduced La Monte Young to just intonation , leading ultimately to the composition of Young's The Well-Tuned Piano , as well as the tuning activities of the Theatre of Eternal Music in general. Two recent anniversary celebrations, in 1994 celebrating 350 years since his baptism and in 2004 celebrating 300 years since his death, have led to

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