Rosary Sonatas
Encyclopedia
The Mystery Sonatas, also known as the Rosary Sonatas or Copper-Engraving Sonatas, by early Baroque composer and virtuoso violinist Heinrich Ignaz Franz Biber are a collection of 15 short sonatas for violin and continuo with a closing passacaglia for solo violin that are relevant to the christian Rosary
devotion practice and possibly to the Feast of the Guardian Angels
. It is presumed the Mystery Sonatas were completed around 1676, however they were unknown until their publication in 1905. The music of Biber was never entirely forgotten due to the high technical skill required to play many of his works, this is especially true of his works for violin. Once rediscovered, The Mystery Sonatas became Biber's most widely known composition. The work is prized for its virtuosic vocal style, scordatura
tunings and its programmatic structure.
, in northern Bohemia
, Heinrich Ignaz Franz Biber (baptized 12 August 1644 - died 3 May 1704 in Salzburg
), was a composer and musician who came to be regarded as the most acclaimed violin virtuoso of his time. Today he is remembered primarily for his solo violin compositions. There is little information on his early musical training, but it is very likely that he received most of it in the castle of Karl Liechtenstein-Kastelkorn at Kroměříž
in central Moravia
after possibly having attended a Jesuit gymnasium . At the time, Pavel Josef Vejvanovský
was the Kapellmeister
at the castle and Biber may have studied under him. After working at Kroměříž, Biber moved to Salzburg in 1670 to work for the Archbishop Maximilian Gandolph. There he became successful in terms of both his career and social status; he remained in Salzburg for the rest of his life and became Kapellmeister there in 1684. Along with Andreas Hofer
, Biber was one of the two main composers at the Salzburg Cathedral . Biber was also well known in the Bavarian court of Munich
and the Imperial court in Vienna
, where he was knighted by the emperor in 1690 . He wrote instrumental and vocal music in both sacred and secular genres . Biber gained wide recognition in France and Italy, but this was mostly as a composer and less as a violinist . Today we are also aware that his technical skills as a violinist were far more advanced than his colleagues'. He is now described as being “the most noteworthy violinist of the 17th century" .
Biber had eight children, but only four survived childhood. All of them were musically talented and highly trained. Both of his daughters became nuns.
In his sonatas for violin Biber integrated new technical skills with new compositional expression and was himself able to accomplish techniques that no other known violinist could at his time . His 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 and only 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, Archbishop Gandolph. 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 inappropriate suites with new and descriptive compositions. However, they are assembled into a remarkably coherent large-scale form which is also relevant to the Mysteries of the Rosary.
Each sonata corresponds to one of the Mysteries and a Passacaglia for solo violin closes the collection, possibly relating to the Feast of the Guardian Angel which, at the time, was a celebration that took place on different dates near those of the rosary processions in September and October .
Biber's scordatura tuning helped create music that was relevant to the themes of each mystery . Apart from the first and last sonatas, each is written with a different scordatura.
Scordatura is 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 the strings than the norm. It was first used in the early 16th century and was most popular until approximately 1750. In literature for violin and viola 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 different pitches when he or she plays, which can be both confusing and demanding to perform .
Biber uses scordatura primarily to manipulate the violin's tone color, while the creation of otherwise impossible chords and textures are a welcomed, but secondary opportunity . Through the progression of the sonatas, the difficulty of the scordatura tuning rises and falls, 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 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 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 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” .
* This table uses standard Scientific pitch notation
to designate octaves. (In this system “middle C” is called C4.)
* * 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.
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 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 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 .
Rosary
The rosary or "garland of roses" is a traditional Catholic devotion. The term denotes the prayer beads used to count the series of prayers that make up the rosary...
devotion practice and possibly to the Feast of the Guardian Angels
Feast of the Guardian Angels
The Feast of the Guardian Angels is a feast of the Catholic Church officially observed on 2 October. In Germany and some other places, the feast is observed on the first Sunday in September with the permission of the Vatican...
. It is presumed the Mystery Sonatas were completed around 1676, however they were unknown until their publication in 1905. The music of Biber was never entirely forgotten due to the high technical skill required to play many of his works, this is especially true of his works for violin. Once rediscovered, The Mystery Sonatas became Biber's most widely known composition. The work is prized for its virtuosic vocal style, scordatura
Scordatura
A scordatura , also called cross-tuning, is an alternative tuning used for the open strings of a string instrument, in which the notes indicated in the score would represent the finger position as if played in regular tuning, while the actual pitch is altered...
tunings and its programmatic structure.
Biography
Born in Wartenberg, today's Stráž pod RalskemStráž pod Ralskem
Stráž pod Ralskem is a town in Česká Lípa District, Liberec Region, Czech Republic. It has a population of 4,238 The baroque composer Heinrich Ignaz Franz Biber was born in Stráž pod Ralskem in 1644.- People :...
, in northern Bohemia
Bohemia
Bohemia is a historical region in central Europe, occupying the western two-thirds of the traditional Czech Lands. It is located in the contemporary Czech Republic with its capital in Prague...
, Heinrich Ignaz Franz Biber (baptized 12 August 1644 - died 3 May 1704 in Salzburg
Salzburg
-Population development:In 1935, the population significantly increased when Salzburg absorbed adjacent municipalities. After World War II, numerous refugees found a new home in the city. New residential space was created for American soldiers of the postwar Occupation, and could be used for...
), was a composer and musician who came to be regarded as the most acclaimed violin virtuoso of his time. Today he is remembered primarily for his solo violin compositions. There is little information on his early musical training, but it is very likely that he received most of it in the castle of Karl Liechtenstein-Kastelkorn at Kroměříž
Kromeríž
Kroměříž is a town in the Zlín Region of the Czech Republic. The town's main landmark is the Baroque Kroměříž Bishop's Palace, where some scenes from Amadeus and Immortal Beloved were filmed...
in central Moravia
Moravia
Moravia is a historical region in Central Europe in the east of the Czech Republic, and one of the former Czech lands, together with Bohemia and Silesia. It takes its name from the Morava River which rises in the northwest of the region...
after possibly having attended a Jesuit gymnasium . At the time, Pavel Josef Vejvanovský
Pavel Josef Vejvanovský
Pavel Josef Vejvanovský Czech composer and trumpeter. Contemporary and associate of Heinrich Ignaz Franz von Biber.Some notable works by Pavel Josef Vejvanovský:...
was the Kapellmeister
Kapellmeister
Kapellmeister is a German word designating a person in charge of music-making. The word is a compound, consisting of the roots Kapelle and Meister . The words Kapelle and Meister derive from the Latin: capella and magister...
at the castle and Biber may have studied under him. After working at Kroměříž, Biber moved to Salzburg in 1670 to work for the Archbishop Maximilian Gandolph. There he became successful in terms of both his career and social status; he remained in Salzburg for the rest of his life and became Kapellmeister there in 1684. Along with Andreas Hofer
Andreas Hofer
Andreas Hofer was a Tirolean innkeeper and patriot. He was the leader of a rebellion against Napoleon's forces....
, Biber was one of the two main composers at the Salzburg Cathedral . Biber was also well known in the Bavarian court of Munich
Munich
Munich The city's motto is "" . Before 2006, it was "Weltstadt mit Herz" . Its native name, , is derived from the Old High German Munichen, meaning "by the monks' place". The city's name derives from the monks of the Benedictine order who founded the city; hence the monk depicted on the city's coat...
and the Imperial court in Vienna
Vienna
Vienna is the capital and largest city of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.723 million , and is by far the largest city in Austria, as well as its cultural, economic, and political centre...
, where he was knighted by the emperor in 1690 . He wrote instrumental and vocal music in both sacred and secular genres . Biber gained wide recognition in France and Italy, but this was mostly as a composer and less as a violinist . Today we are also aware that his technical skills as a violinist were far more advanced than his colleagues'. He is now described as being “the most noteworthy violinist of the 17th century" .
Biber had eight children, but only four survived childhood. All of them were musically talented and highly trained. Both of his daughters became nuns.
History and Discovery of Work
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 (the most impressive being his Missa Salisburgensis).In his sonatas for violin Biber integrated new technical skills with new compositional expression and was himself able to accomplish techniques that no other known violinist could at his time . His 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 and only 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, Archbishop Gandolph. 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 inappropriate suites with new and descriptive compositions. However, they are assembled into a remarkably coherent large-scale form which is also relevant to the Mysteries of the Rosary.
Rosary Devotion
The 15 Mysteries of the Rosary, practiced in the so-called “Rosary processions” since the 13th century, are meditations on important moments in the life of Christ and the Virgin Mary. During these processions, believers walked around a cycle of paintings and sculptures that were placed at specific points of a church or another building (also known as Stations of the Cross). In this tradition, at every station a series of prayers was to be recited and related to the beads on the rosary (this is the reason why they are also named the “Rosary Sonatas”). 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 .Each sonata corresponds to one of the Mysteries and a Passacaglia for solo violin closes the collection, possibly relating to the Feast of the Guardian Angel which, at the time, was a celebration that took place on different dates near those of the rosary processions in September and October .
Structure of the Composition
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 of Christ and the Virgin Mary .Biber's scordatura tuning helped create music that was relevant to the themes of each mystery . Apart from the first and last sonatas, each is written with a different scordatura.
Scordatura is 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 the strings than the norm. It was first used in the early 16th century and was most popular until approximately 1750. In literature for violin and viola 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 different pitches when he or she plays, which can be both confusing and demanding to perform .
Biber uses scordatura primarily to manipulate the violin's tone color, while the creation of otherwise impossible chords and textures are a welcomed, but secondary opportunity . Through the progression of the sonatas, the difficulty of the scordatura tuning rises and falls, 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 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 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 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” .
List of the Sonatas and their Tunings *
| Sonata | Tuning IV--III--II--I |
|---|---|
| 1. The Annunciation (Standard Tuning) | G3--D4--A4--E5 |
| 2. The Visitation | A3--E4--A4--E5 |
| 3. The Nativity | B3--F#4--B4--D5 |
| 4. The Presentation of the Infant Jesus in the Temple | A3--D4--A4--D5 |
| 5. The Twelve-Year-Old Jesus | A3--E4--A4--C#5 |
| 6. Christ on the Mount of Olives | Ab3--Eb4--G4--D5 |
| 7. The Scourging at the Pillar | C4--F4--A4--C5 |
| 8. The Crown of Thorns | D4--F4--Bb4--D5 |
| 9. Jesus Carries the Cross | C4--E4--A4--E5 |
| 10. The Crucifixion | G3--D4--A4--D5 |
| 11. The Resurrection (IV--II--III--I)** | G3--G4--D4--D5 |
| 12. The Ascension | C4--E4--G4--C5 |
| 13. Pentecost | A3--E4--C#5--E5 |
| 14. The Assumption of the Virgin | A3--E4--A4--D5 |
| 15. The Beatification of the Virgin | G3--C4--G4--D5 |
| 16. Passacaglia (Standard Tuning) | G3--D4--A4--E5 |
Scientific pitch notation
Scientific pitch notation is one of several methods that name the notes of the standard Western chromatic scale by combining a letter-name, accidentals, and a number identifying the pitch's octave...
to designate octaves. (In this system “middle C” is called C4.)
The Mystery Sonatas in Recent Times
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 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 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 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 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 .