Heinrich Ignaz Franz VON BIBER (1644 - 1704)
Mystery Sonatas
Sonata I: The Annunciation [5:49]
Sonata II: The Visitation [5:17]
Sonata III: The Nativity [7:19]
Sonata IV: The Presentation in the Temple [7:53]
Sonata V: The Finding in the Temple [7:22]
Sonata VI: The Agony in the Garden [7:26]
Sonata VII: The Scourging [9:28]
Sonata VIII: The Crowning with Thorns [6:05]
Sonata IX: The Carrying of the Cross [7:41]
Sonata X: The Crucifixion [9:04]
Sonata XI: The Resurrection [8:29]
Sonata XII: The Ascension [7:41]
Sonata XIII: The Descent of the Holy Ghost [8:12]
Sonata XIV: The Assumption of the Blessed Virgin [8:40]
Sonata XV: The Coronation of the Blessed Virgin [11:30]
Passacaglia [10:47]
Julia Wedman (violin), Felix Deak (cello, viola da gamba), Lucas
Harris (archlute, theorbo), Julia Seager Scott (harp), Charlotte Nediger
(harpsichord, organ)
rec. 26-29 April, 4-9 July 2010, Grace Church on-the-Hill, 300
Lonsdale Rd, Toronto, Canada. DDD
DORIAN SONO LUMINUS DSL-92127 [73:26 + 55:20]
The so-called 'Mystery Sonatas' by Biber belong amongst the most frequently
performed
instrumental pieces of the 17th century. That can be explained by their
musical
quality and their rather mysterious character. We don't know what Biber
called
his sonatas as the title page of the manuscript has been lost. There can be
no
doubt about the connection to the Rosary, though, as every sonata is
accompanied
by an engraving which refers to a station of the Rosary. How exactly these
are
depicted in the music is a matter of much speculation.
It is generally assumed that the sonatas were composed around 1678.
They were dedicated to Max Gandolph von Kuenberg, the archbishop of Salzburg
and Biber's employer. They were never published and may have been intended
for performances in the archbishop's own chapel. Some believe that they were
rather to be performed in the Aula Academica, the lecture hall of the Jesuit
confraternity in Salzburg. The hall contains fifteen paintings depicting the
mysteries, and the Jesuits strongly advocated Rosary devotion with music.
The venue where the sonatas may have been performed could have
consequences for modern performances, in particular in regard to the scoring
of the basso continuo. When the sonatas were played in Max Gandolph's
chapel, it is unlikely that a battery of instruments would have been used in
the basso continuo. In performances in the larger space of the Aula
Academica more instruments could have been involved. I recently saw a list
of available recordings, which came to as few short of 30. These show very
different solutions to this issue. Some have opted for a number of
instruments, playing in various combinations from one sonata to the other.
One of the most sober is that by Andrew Manze who is accompanied only by
harpsichord or organ, with a cello in Sonata XII where Biber
indicated the participation of a violone. Julia Wedman is one of those who
opted for a larger ensemble of cello or viola da gamba, archlute or theorbo
and harpsichord or organ, with a harp in Sonata XIII.
The latter is chosen on the basis of Ms Wedman's personal
interpretation of this particular sonata. "I chose to use the harp as an
added colour in the continuo section to emphasize the unusual, almost creepy
tonal colours which highlight the strange and frightening experience of the
Holy Spirit's descent". In her comments she delivers her personal view on
the various sonatas. Obviously everyone is entitled to his or her opinions.
Even so, I believe she may read too much into some of the sonatas. Her views
are sometimes too much of the 21st-century. An example is her comment on the
Sonata V: "The Double is my favourite part of this sonata because it
reminds me of the excited chatter of kids on the way home from an exciting
day. I always imagine Jesus saying to Joseph "Dad - guess what happened???"
Somehow I feel that such a thought was not on Biber's mind while writing
this part of his sonata.
These personal views are also at odds with the liner-notes by
Lindsey Strand-Polyak, who pays much attention to the ritual of Rosary
prayer. One of its essential elements is repetition. "... repetition as a
devotional aid, as exemplified in the Rosary, has been used for centuries as
a way of intensifying the meditative experience and helps bring the devotee
into a state of contemplation". She then argues that this could well explain
the feature of repetition in these sonatas. Several of them have the
character of a theme with variations, which allows for an increase of
intensity. So does the use of a dance with repeated sections and the
addition of a double. Lastly Biber makes use of ciaccona and
passacaglia - the endless repeat of the same bass pattern is an
almost ideal way of intensifying the emotion during the course of the piece.
There has been much speculation about the connection between the
Rosary and music. There are some clear depictions of stages in Jesus' life,
like the scourging and the hammering of the nails into the cross. Further
study of these sonatas could well reveal more details in this matter. The
main thing is that these sonatas were meant to help the listener to meditate
on the mysteries rather than to illustrate them.
The fact that these sonatas are technically challenging obviously
contributes to violinists being attracted to them. One of their features is
the use of scordatura, the technique of detuning the violin in order
to achieve special sonic effects. As Julia Wedman explains in her own notes,
that can be quite disturbing for a violinist who needs time and effort to
get used to these different tunings. However, even without the use of
scordatura these sonatas are difficult enough. The performances by Ms
Wedman are admirable. Her technique is immaculate, and this allows for a
concentration on content. I like her tone which has the kind of intensity
and penetration which this repertoire requires. Her views on these sonatas
may be speculative and even questionable from a historical point of view,
but they certainly make for compelling interpretations. She isn't afraid of
strongly opposing tempi and explores the full dynamic range of the
instrument. These are certainly not middle-of-the-road interpretations.
That said, there are some issues which have to be addressed, in
addition to what has been said about Ms Wedman's personal views. One of them
is the use of a cello in the basso continuo which is questionable. It struck
me that in the article on the cello in New Grove Germany and Austria
are not mentioned in the paragraph devoted to the 17th century. Apparently
it was the viola da gamba that was the dominating string bass instrument.
Equally debatable is the use of a harp. The organ is a logical option,
probably preferable throughout these sonatas. In Sonata XI it is a
little too dominant in one episode, largely overpowering the violin. As far
as Ms Wedman's playing is concerned, good and stylish as it is, a stronger
differentiation between good and bad notes would have been desirable.
All in all, this is one of the better recordings of these sonatas,
and well worth considering if you don't have them. Even if you have some
recordings, Ms Wedman's interpretation is interesting enough justify adding
it to your collection.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Certainly not middle-of-the-road.
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