Heinrich Ignaz Franz von Biber
Das 15 Rosenkranz-Sonaten.

Great importance has always been placed on the devotion to the Holy Rosary within the rites of Christianity, especially among the people. In the 17th century, the solemn commemoration of the Mysteries of the Rosary was frequently observed on their respective feast days, accompanied by processions with small instrumental groups.

The great Bohemian violinist and composer Heinrich Ignaz Franz von Biber composed around 1670 a set of 15 Sonatas, in groups of five, which represented the Joyful, Sorrowful, and Glorious Mysteries (the Luminous Mysteries were excluded) of the Christian Rosary.

Two of the most evident peculiarities of this very intriguing collection of Sonatas (each of them consisting of a number of movements ranging from 1 to 4) are that they elude any attempt at classification, fitting neither the 'Italian' tripartite division (Fast-Slow-Fast) nor the 'French' (Slow-Fast-Slow), nor even the 'Corelli' quadripartite division (Slow-Fast-Slow-Fast), and the extensive use of the 'scordatura' technique, such that, in fact, only the first Sonata uses the classic fifths tuning (G-D'-A'-E''). These are rather somber and subdued works because, being Church Sonatas, they must be performed without disturbing the faithful in prayer.

The first three Sonatas, written in 'strict' style, address the five Joyful Mysteries. Sonata I ("The Annunciation," originally "Jesu, Den Du, o Jungfrau Vom Heiligen Geist Empfangen has Cordatura"), in D minor, is divided into three movements (Praeludium - Variatio - Satz III) with a peculiar feature in the second movement: it provides only a bass line to be freely developed. Sonata II ("The Visitation," "Jesus, Den Du, o Jungfrau, zu Elisabeth Getragen Hast"), in A major, also comprises three movements (Satz I - Allaman - Presto) and uses tuning by fourths and fifths (A-E'-A'-E''). This is a rather common alternative tuning with a calmly brilliant character. Sonata III ("The Nativity," "Jesus, Den Du, o Jungfrau, Geboren Hast"), also in three parts (Satz I - Courente - Adagio), has an intimate and subtly melancholic character, also due to the use of the B minor key favored by suitable tuning built on the arpeggio of the tonic chord (B-F#'-B'-D''). More interesting is the arrangement of the tempos in the two subsequent Sonatas: Sonata IV ("The Presentation of Jesus in the Temple," "Jesus, Den Du, o Jungfrau, in Tempel Aufgeopfert Hast") is a Chaconne in D minor, constructed on an ostinato bass divided into two sections, and uses tuning by fourths and fifths (A-D'-A'-D''), while Sonata V ("Jesus Christ, at the age of twelve, in the Temple," "Jesus, Den Du, o Jungfrau, in Tempel Weidergefunden Hast") is practically a Suite in four movements (Praeludium - Allaman - Gigue - Saraban), in A major and characterized by the use of a variant (A-E'-A'-C#'') of the tuning used for Sonata II.

*The central five Sonatas outline the five Sorrowful Mysteries using many madrigalisms; the tunings used are quite unusual, sometimes extreme, which contribute to creating a sense of anguish and yearning. Sonata VI ("Christ on the Mount of Olives," "Jesus, Der für uns Blut Geschwitzt Hat") is a Lament in C minor, constructed on a descending bass line; the tuning involves the use of major sevenths and perfect fifths (Ab-Eb'-G'-D''). Sonata VII ("The Scourging at the Pillar," "Jesus, Der für uns Gegeißelt Worden Ist"), in F major and in two movements (Allamanda - Sarabanda & Variatio), compresses the violin’s tuning into a single octave (C-F-A-C'). This is also the case in Sonata VII ("The Crowning with Thorns," "Jesus, Der für uns mit Dornen Gekrönt Worden Ist"), in B flat major (scordatura: D-F-Bb-D') and divided into two parts (Satz I - Gigue & Double. Presto). Tension and burden are perceptible in Sonata IX ("Jesus Carries the Cross," "Jesus, Der für uns Das Schwere Kreuz Getragen Hat") in A minor (scordatura: C-E-A-E'), while Sonata X ("The Crucifixion," "Jesus, Der für uns Gekreuzigt Worden Ist"), in G minor and in four movements (Praeludium - Aria - Variatio I - Variatio II), uses a more open tuning (G-D'-A'-D'') almost identical to the 'standard': this allows the outlining of the last moments of Jesus on the cross with tragic tones.

*The last five Sonatas outline the five Glorious Mysteries through the use of tunings and atmospheres that are at times calm and serene, at times more sonorous and triumphant. Sonata XI ("The Resurrection," "Jesus, Der Vor Den Toten Auferstanden Ist"), consisting of a single movement in G major based on the Gregorian Hymn "Surrexit Christus Hodie," uses an extreme scordatura, with octaves separated by a fifth (G-G'-D'-D'') and with the two middle strings crossed before the bridge: this enables the execution of passages that are normally almost unplayable and creates suggestive and almost intangible sonorities. Sonata XII ("The Ascension," "Jesus, Der in Den Himmel Aufgefahren Ist"), in C major and in four movements (Intrada - Aria Tubicinum - Allamanda - Courente), uses a tuning that facilitates the execution of fanfare-like passages (C-E-G-C'). Peculiar is the continuo accompaniment with 'timpanistic' passages. Sonata XIII ("Pentecost," "Jesus, Der Uns Den Heiligen Geist Gesandt Hat"), in D minor, is divided into four movements (Satz I - Gavott - Gigue - Sarabanda) and uses a tuning based on the dominant chord (A-E'-C#''-E''). The rapid triplets outline the Ascension of Jesus to Heaven. Sonata XIV ("The Assumption of the Virgin Mary," "Jesus, Der Dich, o Jungfrau, in Den Himmel Aufgenommen Hat"), in D major, uses an almost exclusive tuning by fourths (A-E'-A'-D'') and is in two movements (Satz I - Aire I & II & Gigue) based on a Chaconne bass. Sonata XV ("The Coronation of the Virgin Mary," "Jesus, Der Dich, o Jungfrau, in Himmel Gekrönt Hat"), in four movements (Satz I - Aria - Canzon - Sarabanda) and in C major, uses the tuning G-C'-G'-D''. The last two Sonatas are the only ones not to refer to Biblical texts.

*The 15 Sonatas are followed by a Passacaglia in G minor (in 'standard' tuning: G-D'-A'-E'') which might be considered as 'Sonata XVI'. Probably composed for the Feast of the Guardian Angel, it is based on a descending ostinato bass. The score provides for solo violin, without continuo, although it is presumed that a continuo part was originally written, only to have been lost.

The most warmly recommended performance is that of the Ensemble Cordaria for Brilliant: besides being a technically excellent performance, the cost is extremely affordable.