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H.I.F. BIBER (1644-1704) THE SACRED MYSTERIES: THE ROSARY SONATAS FOR VIOLIN & CONTINUO
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8079
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Leah Gale Nelson, violin - Daniel Swenberg, theorbo - Dongsok Shin, organ
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List Price: $22.98
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Detailed Description
This recording is also available in High Definition Audiophile 96kHz/24bit download on HD Tracks
REVIEWS!
From Early Music America
February 2012
"The Sacred Mysteries are perhaps Biber’s best-known works, and a testament to his vision and technical ability as a composer and performer. A remarkable collection of violin sonatas composed in the 1670s, the Sacred Mysteries are made up of sixteen pieces: fifteen sonatas for violin and continuo that depict the fifteen Mysteries of the Rosary, and the famous passacaglia for unaccompanied violin. In the only known manuscript of the collection, the individual sonatas are not titled or numbered. Alluding to specific biblical events in the life of Jesus, each piece is accompanied by a small engraving of the event, while the image preceding the passacaglia depicts a guardian angel with a child.
As this arrangement suggests, the set is programmatic and may have
been intended as an invitation to personal reflection and prayer. Even so, the music isn't always a literal representation, and the references should probably be seen as symbolic. The most striking aspect of these works is Biber’s considerable use of scordatura, or “mis-tuning”, in the violin part. Except for the first sonata and the passacaglia, each sonata indicates a particular scordatura tuning to create music that is relevant to the theme or affect of the associated meditation. Rather than paint pictures for each sonata, Biber uses the scordatura to set the mood and color. This introduces considerable technical difficulties as each scordatura tuning creates different chordal finger patterns and resonant characteristics of the violin.
In this new recording of the Sacred Mysteries, violinist Leah Gale Nelson deftly meets its challenges and delivers a performance that constantly engages the listener. These performances never stray from their mark, and there is a manifest appreciation of this music's affective power and deeper meaning. Lines are clearly defined and intricacies of nuance and ornamentation are stylishly wrought. Her interpretation underscores the passion and religious focus etched in the music. These are demanding pieces that foreshadow the polyphonic complexities in the solo violin music of J. S. Bach. Like the music of Bach, Biber's technical complexity often leads to spiritual intensity.
Opting to keep the continuo section lean, Nelson is well supported by Daniel Swenberg on theorbo and Dongsok Shin on organ. Swenberg and
Shin are terrific collaborators, and their sensitive and cohesive realization provides the flexibility for Nelson to fluidly shape her lines. Their collective timbre is agile and clear without being obtrusive, and the ensemble is well balanced throughout. Motomi Igarashi joins the ensemble in the Aria Tubicinum movement of the 12th sonata “The Ascension”, playing an evocative violone part that represents “ceremonial kettledrums”.
Successfully presenting these works as a set is an enormous undertaking, and this is a first-rate production. The recording is faithful to the instruments throughout, and the ambience of St. Peter's Church – Chelsea in New York City enhances the character and sense of meditative space. Spending time immersed in this music offers much in return, and this recording is well worth a listen."
- Mark Zaki
From Early Music Review, (UK),
December 2011:
"After having to review several versions of these monumental
pieces with kaleidoscope continuo sections, Leah Gale Nelson's take on the
“Mystery Sonatas” is refreshingly straightforward. She only uses two violins
(reserving one for the extremely awkward tunings of sonatas 7-9 and 12), and is
accompanied by an organ which gives the harmonic support and a theorbo whose
bass strings help lend the continuo line definition and whose upper registers
supply linking passages and some harmonic interest. Don't imagine for a moment
that this “return to basics” means that the interpretations are dull and
characterless – nothing could be further from the truth. The theorbist is not
afraid to strum his strings when required, and Nelson does not shy away from
vibrato and other improvised ornaments. The organist has no room for display,
but reveals his insight into the music by the way he allows phrases space to
breathe – no holding notes for 100% of the given note value here! All in all,
though Walter Reiter's performances still remain to be bettered, this set is
very impressive and I can imagine returning to it in the coming months."
- BC
"Leah Gale Nelson brings fire and
fervour to this very fine, historically-informed recording of the Biber Rosary
sonatas."
"Biber’s Rosary Sonatas for
violin and continuo are an extraordinary group of works. Their original
purpose was as an aid to meditation on various Catholic sacred texts. The
fifteen sonatas are divided into three sets of five: the Joyful Mysteries, the
Sorrowful Mysteries, and the Glorious Mysteries. This grouping gives rise to
the alternative title of the Mystery Sonatas. As Reinhard Goebel points out,
these works should really be called the Rosary Suites, being mostly composed
of dance movements. In the dedication to the manuscript Biber himself referred
to them as “harmonies”, and they are not assigned numbers in the MS. But
Sonatas is what everyone calls them, so I will follow suit. The religious
underpinning of the music is apparent in its mood, which has a fervour and
intensity on a similar level to the Chaconne from the second violin Partita by
J.S. Bach.
A large part of the music’s impact is due to Biber’s
extensive use of scordatura (non-standard tuning) in the violin part. There
are fifteen different tunings used, including the standard G-D-A-E; this is
used in only the first sonata “The Annunciation” and the Passacaglia for solo
violin that ends the set. Some of these tunings even require the middle
strings to be crossed over in the pegbox and at the tailpiece, adding a visual
religious symbolism. Scordatura is not an effect unique to Biber, but this set
employs it more extensively than any other violin compositions. It adds
another layer of difficulty to the already demanding writing of the solo part.
The ensemble in this recording performs in a historically-informed
style, using Baroque pitch (A = 415) and quarter-comma meantone temperament.
In keeping with this approach Leah Gale Nelson uses little vibrato, using
varying bow pressure to shape the phrases. The open strings are tangy, giving
a slashing character to the repeated chordal writing. The first sonata sets
the tone of rather theatrical fervour that recurs throughout the cycle. The
rhythms in the faster movements are sprightly yet unhurried; the pulse in the
long movements (for example Sonata no. 4) is very well maintained. The quieter
passages, such as the Sarabande in Sonata no. 7, are played with hushed
intensity. The bariolage passages in Sonata no. 14 are played in commanding
fashion. Nelson meets all of the technical demands of the violin part with
ease and sensitivity.
These works can sound a little unvaried when
played all at once (something the scordatura, with its need to re-tune for
every sonata, would make a lengthy process). Nelson uses two violins, a Klotz
dating from 1737 and a Perry Daniels from 1986. The latter instrument has a
brighter sound, and adds some variety of tone to the recording. Her continuo
colleagues accompany discreetly, making the solo line stand out like a diamond
in a velvet case. The theorbo’s lower strings add a pleasantly gravelly sound
to the accompaniment. The recording is at quite a high level, but the church
acoustic suits the music very well.
Reinhard Goebel’s 1991 recording
with Musica Antiqua Cologne was one of the early original instruments
traversals of these works. His recording still sounds very fine today, and
Goebel brings eloquence as well as virtuosity to the violin part. However
Nelson’s playing does not suffer in the comparison, and she brings out the
dance rhythms a little more than Goebel. His set adds a cello to the continuo;
in his recording also the keyboard instrument alternates between a harpsichord
and a chamber organ, whereas Nelson uses just the latter. Goebel’s timings are
significantly quicker than Nelson’s at 53:51 and 60:07, a difference of about
eleven minutes overall."
From ALL MUSIC GUIDE
"Leah Gale
Nelson delivers a robust, securely grounded performance of the
sonatas, playing with a clean but vibrant tone. Her approach highlights the
earthy vitality of the stories depicted in the music rather than an airy ethereality, and the effect is bracing. She brings plenty of nuance to each of
the pieces and persuasively heightens the intense emotionality of the religious
devotion that the movements are intended to inspire, so "The Finding of Jesus in the Temple" is exuberantly celebratory, for example, and
"The Agony in the Garden" is darkly wrenching. Biber's daunting technical
demands sound effortless in her confident, shapely playing. The elegant
realization of the continuo adds to the attractiveness of this version. The
cycle has been recorded using a variety of configurations, some including a full ensemble, to play the continuo part, but Nelson's approach is
relatively simple, with theorbo played by Daniel
Swenberg and organ played by Dongsok Shin.
The sustained tones of the organ and the plucked theorbo provide timbral
variety and appropriately leave ample room for the solo violin to shine. Motomi
Igarashi playing violone makes a colorful and resonant addition in
one of the sonatas, 'The Ascension.' Lyrichord's sound is full,
warmly intimate, and ideally resonant."
A Brand New Recording - Specially-priced 2 CD set!
Joyful – Sorrowful – Glorious – 15 violin tunings – 16 evocative pieces!
In this new Lyrichord recording, 21st century understanding of 17th century performance practice meets the formidable virtuosity of Biber’s violin writing. With the most extensive use of scordatura (re-tuning) in violin repertoire, each piece is given its own sound-world. Using a facsimile of the only surviving manuscript, gut strings, short bows, theorbo and chamber organ, these highly regarded period players offer a historical and impassioned approach to these improvisatory preludes, hymn-like sonatas, and spirited dance movements honoring the Mysteries of the Rosary. Listeners are moved by the power of this music, carrying us through joy, sorrow, and glory, reflecting scenes of life, death, and rebirth.
DDD 2 CD set.
 Click here to watch music video.
DOWNLOAD THE PRESS RELEASE (3 page pdf)
Disc 1 – (total time: 72:57)
The Joyful Mysteries
I. The Annunciation
1. Praeludium - 2:27
2. Aria. Variatio. Finale - 3:38
II. The Visitation
3. Sonata - 1:37
4. Allamanda - 2:24
5. Presto - 0:55
III. The Nativity
6. Sonata - 1:21
7. Courente. Double. - 2:54
8. Adagio - 2:09
IV. The Presentation of Jesus in the Temple
9. Ciacona - 7:45
V. The Finding of Jesus in the Temple
10. Praeludium - 1:09
11. Allamanda - 1:34
12. Guigue - 1:22
13. Sarabanda. Double. - 3:28
The Sorrowful Mysteries
VI. The Agony in the Garden
14. Lamento - 3:19
15. [Aria] - 2:13
16. Adagio - 1:49
VII. The Scourging at the Pillar
17. Allamanda. Variatio. - 3:38
18. Sarabanda. Variatio. - 4:47
VIII. The Crowning with Thorns
19. Sonata - 2:22
20. Guigue. Double. Double 2. - 4:31
IX. The Carrying of the Cross
21. Sonata - 2:12
22. Courente. Double. [Double 2] - 3:26
23. Finale - 1:45
X. The Crucifixion
24. Praeludium - 1:21
25. Aria. Variatio. - 8:36
CD 2 – (total time: 52:41)
The Glorious Mysteries
XI. The Resurrection
1. Sonata - 2:31
2. Surexit Christus hodie. - 3:42
3. Adagio - 1:21
XII. The Ascension
4. Intrada - 0:40
5. Aria Tubicinum - 1:38
6. Allamanda - 2:09
7. Courente. Double. - 2:57
XIII. The Descent of the Holy Spirit
8. Sonata - 3:03
9. Gavott - 1:20
10. Guigue - 1:47
11. Sarabanda - 1:31
XIV. The Assumption of Mary
12. [Praeludium] - 2:23
13. Aria, Guigue. - 7:09
XV. The Coronation of Mary, Queen of Heaven
14. Sonata - 1:43
15. Aria. [Variatio] - 6:03
16. Canzona - 1:53
17. Sarabanda. [Double] - 2:45
The Guardian Angel
18. Passagalia - 7:54
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