BIBER: Rosenkranz Sonatas – Riccardo Minasi, violin / Bizzarrie Armoniche – Arts

by | Sep 12, 2008 | SACD & Other Hi-Res Reviews | 0 comments

BIBER: Rosenkranz Sonatas – Riccardo Minasi, violin / Bizzarrie Armoniche – Arts Multichannel SACD 477358 (2 discs); 73:16 + 51:44 **** [Distr. by Albany]:

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 The Rosary or Mystery Sonatas were written during the 1670s and remained unpublished during Biber’s lifetime.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

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