336:. Because of 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 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,
1305:
27:
146:
360:. During these processions, followers walked around 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
1331:
396:. 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.
391:
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
383:
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 the devotion to the life
417:
In 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
764:
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
759:
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 the
292:
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
418:
tension in the suffering and despair from the
Sweating of Blood through to the Crucifixion. The last of 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.
429:
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.
364:. When they performed this ritual, 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.
755:
is evident in
Eichler's account of Biber's scordatura usage: "Each new configuration 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."
738:
Two recent anniversary celebrations, in 1994 celebrating 350 years since his baptism and in 2004 celebrating 300 years since his death, have led to a “renaissance” of Biber's work through concerts and other forms of presentation. Before then, the
768:
Eichler also suggests that 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.
313:
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 the a notable example being his
433:
The following
Passacaglia in G minor uses 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
403:
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.
988:
823:
321:
In his sonatas for violin, Biber integrated new technical skills with new compositional expression and was himself able to accomplish techniques that few violinists could at his time. The
695:
686:
In this unique scordatura the second and third strings are crossed below the bridge and above the top of the neck thereby switching their standard placement on the fingerboard.
1178:
1093:
1220:
765:
section as accompaniment is counterproductive to "the music's raison d'être: to evoke an intimate, private atmosphere suitable for prayer and meditation".
325:
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.
1351:
1308:
986:; Richard Partridge (2001). "Scordatura (It., from scordare: 'to mistune'; Fr. discordé, discordable, discordant; Ger. Umstimmung, Verstimmung)".
784:
1366:
892:
375:
which, at the time, was a celebration that took place on different dates near those of the rosary processions in
September and October.
1193:
947:
1213:
1009:
844:
91:
63:
1206:
70:
1162:
1037:
110:
1250:
315:
1120:
332:
in Munich. There is no title page, and the manuscript begins with a dedication to his employer, Prince-Archbishop
434:
44:
77:
48:
352:, practised in Rosary processions since the 13th century, are meditations on important moments in the life of
1153:
1129:
282:
59:
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for solo violin. Instead of a title, each sonatas has a copper-engraved vignette related to the
Christian
1321:
1229:
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became one of Biber's most widely known composition. The work is prized for its virtuosic vocal style,
258:
137:
905:
672:
579:
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Biber uses scordatura primarily to manipulate the violin's tone color as well as allow for otherwise
333:
414:. The last four Joyful Mysteries use tunings with sharps that create bright and resonant harmonies.
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652:
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were usually enjoyed and studied by
Baroque enthusiasts. In 2004, three new recordings emerged by
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722:
590:
8:
957:
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1076:
979:
641:
613:
426:
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349:
1158:
1046:
1033:
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840:
789:
483:
1278:
997:
832:
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for solo violin which closes the collection, possibly relating to the Feast of the
1244:
717:
562:
393:
1289:
1148:
1099:
1067:
953:
901:
802:
748:
713:
372:
270:
712:
formed an interest in alternative tuning, studied the subject, and introduced
1345:
1198:
943:
705:
302:
133:
704:
were probably the sole European work to have an influence on early American
406:
The Joyful Mysteries depict episodes from the early life of Jesus, from the
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978:
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744:
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709:
368:
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1025:
624:
1151:(2011) . "Biber, Heinrich Ignaz Franz von". In Alison Latham (ed.).
821:
Dann, Elias; Jiří Sehnal (2020). "Biber, Heinrich Ignaz Franz von".
26:
694:
145:
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or up, creating different intervals between the strings than the
675:
to designate octaves. (In this system "middle C" is called C4.)
388:
367:
Each sonata corresponds to one of the fifteen Mysteries, and a
278:
266:
262:
353:
16:
17th-century collection of violin sonatas by H. I. F. Biber
776:
performed the complete Rosary Sonatas at the inaugural
1319:
720:, leading ultimately to the composition of Young's
421:The Glorious Mysteries include the events from the
51:. Unsourced material may be challenged and removed.
1092:
938:
794:released her own particular interpretation of the
1050:, 28 April 1998, vol. XLIII, no. 17, pp. 141, 145
862:Baroque Music: Music in Western Europe, 1580–1750
1343:
1090:
1032:. University of California Press. p. 204.
1030:Music Downtown: Writings from the Village Voice
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501:Presentation of the Infant Jesus in the Temple
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708:. It was through playing them that violinist
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1352:Compositions by Heinrich Ignaz Franz Biber
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1207:
1094:"Brisbane Baroque: Hardheads seen to weep"
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726:, as well as the tuning activities of the
144:
1194:International Music Score Library Project
1024:
923:
328:The original manuscript is stored in the
111:Learn how and when to remove this message
308:
1072:"Reciting a Rosary, but in Sonata Form"
1066:
1002:10.1093/gmo/9781561592630.article.41698
837:10.1093/gmo/9781561592630.article.03037
1367:Music dedicated to nobility or royalty
1344:
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801:for the ensemble Musica Alchemica and
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49:adding citations to reliable sources
20:
13:
1137:
662:16. Passacaglia (standard tuning)
343:
14:
1378:
1172:
1091:Martin Buzacott (16 April 2015).
150:Violin with strings prepared for
1329:
1304:
1303:
982:; Robin Stowell; Mark Chambers;
783:Also in 2015, Spanish violinist
693:
25:
1114:
956:. HMU 907321.22. Archived from
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384:of Christ and the Virgin Mary.
36:needs additional citations for
1251:Missa Salisburgensis à 53 voci
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1018:
972:
853:
814:
680:
281:practice, and possibly to the
1:
1154:The Oxford Companion to Music
808:
529:Christ on the Mount of Olives
261:are a collection of 15 short
1190:(Heinrich Ignaz Franz Biber)
772:The Australian chamber trio
378:
283:Feast of the Guardian Angels
7:
1157:. Oxford University Press.
734:Recordings and arrangements
10:
1383:
1230:Heinrich Ignaz Franz Biber
904:. SIGCD021. Archived from
894:Biber: The Mystery Sonatas
860:Hill, John Walter (2005).
387:Biber's scordatura helped
350:15 Mysteries of the Rosary
259:Heinrich Ignaz Franz Biber
1299:
1271:
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949:Biber: The Rosary Sonatas
673:scientific pitch notation
671:This table uses standard
334:Max Gandolph von Kuenburg
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1044:Originally published in
780:festival in April 2015.
728:Theatre of Eternal Music
653:Coronation of the Virgin
642:Assumption of the Virgin
427:Assumption of the Virgin
288:It is presumed that the
254:Copper-Engraving Sonatas
206:11–15 Glorious Mysteries
203:6–10 Sorrowful Mysteries
170:Copper-Engraving Sonatas
994:Oxford University Press
829:Oxford University Press
580:Jesus Carries the Cross
552:Scourging at the Pillar
747:, Pavlo Beznosiuk and
330:Bavarian State Library
512:Twelve-Year-Old Jesus
412:Finding in the Temple
309:History and discovery
723:The Well-Tuned Piano
316:Missa Salisburgensis
245:, also known as the
200:1–5 Joyful Mysteries
45:improve this article
911:on 20 December 2016
864:. New York: Norton.
1077:The New York Times
989:Grove Music Online
824:Grove Music Online
463:(standard tuning)
293:rediscovered, the
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1047:The Village Voice
1011:978-1-56159-263-0
846:978-1-56159-263-0
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401:impossible chords
301:tunings, and its
243:Rosenkranzsonaten
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121:
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1279:Colossal Baroque
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1192:: Scores at the
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992:(8th ed.).
980:Boyden, David D.
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827:(8th ed.).
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778:Brisbane Baroque
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1261:Mystery Sonatas
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1138:Further reading
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1068:Eichler, Jeremy
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796:Mystery Sonatas
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741:Mystery Sonatas
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718:just intonation
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563:Crown of Thorns
541:
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518:
517:
490:
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394:standard tuning
381:
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344:Rosary devotion
338:Mystery Sonatas
323:Mystery Sonatas
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295:Mystery Sonatas
290:Mystery Sonatas
273:, with a final
248:Mystery Sonatas
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165:Mystery Sonatas
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117:
106:
100:
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54:
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42:
30:
17:
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5:
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1370:
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1357:Violin sonatas
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1290:Slice to Sharp
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762:Rosary Sonatas
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362:Rosary Sonatas
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940:Manze, Andrew
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152:Sonata No. 11
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56:Find sources:
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34:This article
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1128:playlist on
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1104:. Retrieved
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962:. Retrieved
958:the original
948:
913:. Retrieved
906:the original
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745:Andrew Manze
740:
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730:in general.
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682:
670:
665:G3—D4—A4—E5
657:G3—C4—G4—D5
646:A3—E4—A4—D5
618:C4—E4—G4—C5
607:G3—G4—D4—D5
602:Resurrection
595:G3—D4—A4—D5
584:C4—E4—A4—E5
556:C4—F4—A4—C5
505:A3—D4—A4—D5
477:A3—E4—A4—E5
466:G3—D4—A4—E5
461:Annunciation
453:IV—III—II—I
452:
441:Compositions
432:
423:Resurrection
420:
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408:Annunciation
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43:Please help
38:verification
35:
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984:James Tyler
788: [
774:Latitude 37
710:Tony Conrad
591:Crucifixion
369:passacaglia
358:Virgin Mary
305:structure.
275:passacaglia
181:around 1676
101:August 2023
1346:Categories
1284:Scordatura
915:9 December
809:References
516:A3—E4—A4—C
473:Visitation
299:scordatura
159:Other name
71:newspapers
1026:Kyle Gann
625:Pentecost
614:Ascension
379:Structure
194:Movements
186:Published
1309:Category
1070:(2011).
1028:(2006).
946:(2004).
891:(2000).
799:arranged
700:Biber's
651:15. The
640:14. The
632:♯
612:12. The
600:11. The
589:10. The
570:♭
545:4—G4—D5
542:♭
536:♭
519:♯
494:4—B4—D5
491:♯
484:Nativity
356:and the
271:continuo
226:continuo
178:Composed
1272:Related
1245:Arminio
1188:Sonatas
1180:Mystery
1130:YouTube
1122:Biber:
1106:2 March
964:21 June
629:A3—E4—C
567:D4—F4—B
561:8. The
550:7. The
510:5. The
499:4. The
482:3. The
471:2. The
459:1. The
451:Tuning
448:Sonata
425:to the
410:to the
389:timbres
263:sonatas
217:Scoring
85:scholar
1322:Portal
1184:Rosary
1161:
1036:
1008:
843:
354:Christ
279:Rosary
267:violin
223:Violin
87:
80:
73:
66:
58:
1237:Music
909:(PDF)
898:(PDF)
792:]
635:5—E5
573:4—D5
257:) by
92:JSTOR
78:books
1159:ISBN
1108:2024
1034:ISBN
1006:ISBN
966:2011
917:2016
841:ISBN
623:13.
488:B3—F
348:The
269:and
265:for
235:The
189:1905
64:news
998:doi
833:doi
716:to
578:9.
539:3—E
527:6.
251:or
136:by
47:by
1348::
1186:)
1147:;
1097:.
1074:.
1055:^
1004:.
996:.
942:;
925:^
900:.
870:^
839:.
831:.
805:.
790:es
522:5
437:"
340:.
318:.
285:.
1324::
1263:)
1259:(
1222:e
1215:t
1208:v
1182:(
1167:.
1110:.
1080:.
1042:.
1014:.
1000::
968:.
919:.
849:.
835::
533:A
241:(
114:)
108:(
103:)
99:(
89:·
82:·
75:·
68:·
41:.
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