Customer Reviews

Biber: Violin Sonatas

5 star:		(6)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Heinrich Ignaz Franz von Biber-let's agree among friends to simply call him Biber for short-was an Austrian (by way of Moravia) contemporary of Bach, Handel, Telemann and Vivaldi. Alleged to be the greatest violinist of his time, he rose in rank to become court composer to the Salzburg Cathedral, and clearly represented the high point of the Austrian Baroque. His ceremonial music-especially his Missa Salisburgensis and Missa Bruxellensis-was perhaps the match, in sonic splendor, of Handel's famous Water Music and Royal Fireworks Music, but nonetheless distinctive enough that one would never confuse the two composers.

I must say that Biber is fast becoming a guilty pleasure of mine, and quite by accident. It was largely through the dropping of some "this is what I'm listening to" hints by a friend of mine that I thought I'd give him a try, starting first with the two masses noted above. These masses do require some more of my listening time before I feel comfortable in commenting on them. But I have no such problem with this remarkable collection of his 1681 Violin Sonatas.

I suppose I should have started with his more famous "Mystery" or "Rosary" Sonatas, but I must say that I am so taken in by the performance by Andrew Manze and his HIP (historically-informed performance) Romanesca group (with Nigel North on lute and therebo and John Toll on harpsichord and organ) in these 1681 Sonatas that I think I'll simply wait until Manze and Romanseca have their own release of the Mystery Sonatas. Yes, this double-CD recording is that good!

Biber's sonata style would never be confused with Bach's for this instrument (his famous Sonatas and Partitas for Solo Violin being the obvious example), largely due to the latter's much more highly developed contrapuntal style (and the voice leading that can be the benefit of well-written counterpoint). Biber's style is altogether much freer in form, almost (well, perhaps actually) improvisatory by comparison. An obvious advantage-one that speaks to what must have been prodigious playing abilities by Biber-is that these works are thrilling; utter flights of fancy as compared to his more cerebral counterpart from Leipzig. The "free form," as it were, with its near-absence of conventional voice-leading, provides "a surprise at every turn." And there are many of them throughout the eight numbered sonatas and three additional works.

One might say, with justification, that Biber was the Paganini of his day (style differences of Baroque vs. Romantic notwithstanding). Moreover, Biber was an early exponent of a trick that Paganini used a century and a half later: "scordatura" or retuning of the instrument for special tone-color effects due to emphasizing different harmonic overtones in the retuning. To say that scordatura results in some phenomenal violinistic effects would be an understatement.

Andrew Manze and his partners play these works to the hilt, with sheer brilliance in both tone and technique, the latter simply staggering in many spots. Those of you who might think that a true Baroque violin is an acoustically "dead" or dull instrument in comparison to a modern instrument are in for quite a surprise if you've never heard Manze perform. Put simply, these two CDs have well over two hours of some of the finest fiddling I've ever heard. (And yes, "fiddling" is not all that far off the mark, given the free improvisation and high degree of ornamentation that was typical of Biber.)

Cerebral vs. passionate? A fair comparison between Bach and Biber. I'll always have my days when only the Partitas and Sonatas for Solo Violin will fill the bill; the days when I want my mind to be fully engaged in the music. And, now, with this Biber discovery, I'll also have my days when I want something quite different; something quite extraordinary in a different way than Bach provides. Let's agree to call them "days when I want the violinist to wail!" And Andrew Manze is the violinist to do it. Now, about those Mystery Sonatas...

A final note: Not all that long ago, these two CDs were a full-priced Harmonia Mundi item. Now rather recently released in Harmonia Mundi's "1 + 1" budget line, but with no cost-cutting whatsoever on production values (full booklet included), this Biber album is a bargain.

Bob Zeidler

this is some of the most spiritually uplifting, astonishingly beautiful music ever. it literally takes you to a place of great ravishment and joy.
recording, perfomers, selection and above all the composer are sheer perfection.

What do you hope for when you try out a CD by a composer you've never heard before? I read a review of this Biber CD that intrigued me, and I thought I'd give it a try, as a change of pace from the many Bach, Vivaldi and other Baroque CDs I have. I had a preconception that this CD would sound pretty much like Vivaldi, which is a good thing, and it would be nice to have. What I got instead was the most pleasant and astonishing surprise I've gotten in quite a while. This music is not like anything else I have ever heard! It has a sweeping unfettered style that is delightfully unpredictable, and it presents a tonal soundscape that I have simply never heard before. The music is in turns joyful, mysterious, and deeply poignant. If you're looking for something new, and you think you've heard it all, you should try this CD. Unless you have already heard Biber done well, you have truely never heard anything like this, and you will be very happy you got this CD! Also check out Holloway on this same music - equally amazing.

Let's first give credit to the Austrian composer, HIF von Biber, for his most skillful, innovative and often-daring compositions here. Along with fellow-Austian Schmelzer's sonatas, these sonatas are musically-intriguing works and a marvelous contribution to the 17th-century virtuoso tradition that migrated north from Italy. Many of the sonatas are in the form of aria and variations. It is music worthy of deep exploration and appreciation. We are thankful for artists like Manze to help bring them to modern light.

Such difficult, fantasy-like compositions are the playground for only the most accomplished violinists such as Andrew Manze, who fully rises to the occasion here. Manze is famous for tackling such quirky and flamboyant 17th-century violin music with a most unique style and precision unlike any other performer. The highly-dramatic and gypsy-spirited fiddling that has made him famous is in full force in these Biber Sonatas - and nowhere more dramatic than in the most unusual "Sonata Representativa." This sonata grouping is as wild and unpredictable as they come and contains one short (1:06) but jaw-dropping virtuoso piece called the "Musketeer's March." Against a marvelously-performed and boldly-percussive continuo, Manze's powerful effects show us why he rules in this kind of music. It is extraordinary to hear - rhthymically-frenzied, fantastic and frenetic. Between the relentless rhythmic drive of North and Toll and Manze's astonishing, 'chromatic' slurrs and soaring riffs, this movement is one rightful reason for the "Manze craze."

The highlight of Mr. Manze's playing here (and in general) is most certainly his technical wizardry - throwing off effortless runs of demisemiquavers with great precision and rhythmic intensity. Less of a highlight for some will be his ability to make the violin sing aria-like melodies when the notes cool off to mere crotchets and semibreves. The tone he exudes is more direct and starker as compared to the "sweet" tone and singing voice that his fellow period-violinists are better known for (Podger, Biondi). Penguin Guide rightly calls his style "authentic period fiddling" and notes it will not be to the taste of everyone. So, it is a really a matter of what sounds good to your ears, and most people seem to like Manze's overall style thoughout the entire program. Some will resonate more with John Holloway, I tend to prefer Goebel's more melodic and silky violin sound on DG for these same works. Regardless of performer and preference, this extraordinary music is more the main point.

Both Penguin and Gramophone Guides gave this CD high marks, including a top 1995 Baroque-Music Award from the latter. Additionally, veteran music-critic David Hurwitz of ClassicsToday gave this recording (and the Rosary Sonata set) a perfect 10/10 for Artistry/Sound Quality. Indeed, the sound quality is fantatic (clear, full, optimally resonant) as is the creative and passionate continuo support of John Toll and Nigel North. Also most recommended is Romanesca's recording of Schmelzer Sontatas for all of the same reasons above. Compositions - 5 stars; Performance - 4 stars; Sound Quality - 5 stars; The ugly and strange cover art of the dead bird - 1 star.

It's hard to decide what to write here.... This is an awesome recording, especially the Sonata Representativa, but I just don't like it as much as John Holloway's recording. That's the only thing wrong with it, Andrew Manze isn't John Holloway. I guess that isn't very helpful. It must be the organ/harpsichord combo on Holloway's recording that does it for me. The Sonata Representativa on this recording is easily the best I've ever heard though, no doubt about it. Very expressive & exciting. Romanesca is definitely to be commended for 'discovering' Biber; I'm sure much of the interest in Biber these days was initiated by this recording of Romanesca's.

This is a great introduction to REAL classical music, as it was meant to be played--not on the page, but from the heart. Like all good music, the potential lies in a moving tune, a groove, a riff; but that's only the start. Growing up listening to Yes, I became a fan of all types of music. What I learned is that the spirit of rock in all music is what Wordsworth called "the overflow of strong emotions from the heart"--playing to the limit of one's abilities even if that means being vulnerable. As a result, early baroque music as interpreted by Manze and Romanesca, with most everything being soul-crushingly improvised around a basic notation--is able to be as rock as rock gets. My wife can hardly listen to this album because the dynamics are so variant. In order to hear what is soft, the volume knob will be at a point where the louder sections sound like Jimmy Page's amplifier overdrive at a live Zeppelin concert. The album has immense emotional content, and cannot be background music--it will take you over. This is Manze's best, and Romanesca's as well; I urge any fan to more or less buy everything. Unlike many rock bands (Yes in particular), these guys didn't go through a cocaine period in the 80's where they died out, and then ended up playing the old stuff until they died. Romanesca are conservatory professors, every one of them, who have devoted their lives to their passion. Manze, North, and Egarr, though Romanesca is no longer active, continue to amaze to this day.

This item is wontherful. Tempo, colour and texture are incredible perfect. You can hear how bow and string come throught these meticulous notes. I strongly recommend this CD, even for children, they can learn lot about violin. You can not stop imagin Nigel North playing the violin. Amazing work.

If you like listening to Vivaldi or baroque music in general, please free to discover the truly beautiful works of Biber.

Listen and enjoy on of the best pieces of classical music ever..

Biber is probably one of the most inventive and lyrically expressive violin composer to have come out of the Early Baroque period and Austria. Austria and Catholicism being synonymous with the Italian Baroque violin tradition of lyricism, Biber's 'Mystery Sonatas' are probably some of the most moving lyrical pieces in the entire Baroque repertoire. The expressive ranges unfortunately remain in the dark in this performance as the piece is performed by Manze who, although a leader in the study of this period, is ironically the least expressive professional violinist for Early Baroque pieces which is ultimately self-defeating.

Manze is at it again as with every piece he performs for the Italian style that has absolutely no passion of any sort. They are lifeless robotic excercises and nothing more! Manze is principally an academic performer instead of a professional one and his performances sound like scale and technique lessons instead of the passionate interpretations they are supposed to be. I can't stand them as it really only appeals to violinists who need to practice the techniques that are painfully overemphasized ad nauseam in recordings such as this one! My case and point, the spotlight reviewer who is a violinist and emphasizes on the clarity of the method as part of his overly positive review of this work as an academic vs. professional performance. This sluggish screeching resulting from his over-methodical applications of technique sounds like a set of nails scratching the chalkboard every time and is ultimately self-defeating because such performances make him sound like nothing more than an amateur and are tedious beyond belief! In terms of professional performance cirlces he is really an amateur for those reasons. Professional performance means just that! Practice of techniques is over! It's time to put those techniques to use in bringing out the music's intended purpose as opposed to the means of getting there. With classical music especially, the purpose of techniques is for the listener to hear the fruition of the technique and not the technique itself so as to not be distracted in reaching the desired end of musical and spiritual ecstasy. Manze instead performs the technique as the end in itself which was certainly not Biber's original intent in composing this work. Instead of spiritual ecstacy, Manze leads the listener to primarily analyze the technique like a musical academic panel evaluating technique! OK! Great! You get an A for technique and an F in lyrical expression which averages to an overall mediocre performance! This difference with real professional performance in this style is horribly and consistantly obvious even to the untrained ear with each and every one of Manze's performances. Compare Manze/Romanesca for this piece with Goebels/Musica Antiqua Koln. Manze's deficiencies are shamefully exposed in properly performing Italian/Catholic tradition Early Baroque pieces in comparison to Goebel's application of method as, although both he and Goebels use traditional intruments and techniques, Goebels' fluid and emotive interpretation leaves Manze sounding as if he's stuck in the mud of his own confused renditions. Another better example of this in terms of Early Baroque Italian performers is Manze and McGegan performing Uccellini. Just as with Goebels for Biber, Nicholas McGegan's traditional performance on the Baroque violin is warm, fluid, vibrant, and full of life whereas Manze's performance is as fossilized as the one here. With Manze it's no longer a Baroque interpretation but a prehistoric one instead! With performances for Pandolfi there isn't yet really any choice except Manze but, to listeners who care about their ears, I tell you avoid Manze like the plague whenever possible. He knows great techniques but simply doesn't know how to properly apply them for public performance. In short, he simply stinks as a public performer and, despite all his technical knowledge, he is ironically one of the worst solo violinists you can get for virtually anything you might want to buy!

I wouldn't really waste my money on this very average performance. I have great respect for Manze as an innovative musicologist exploring these obscure Baroque works and the difficult techniques they demand but he is simply pathetic as a performer and that's the simple truth! He focuses so much on techniques that he limits his ability to express the very lyricism they are intended to evoke in the first place. This is actually as good as I've heard Manze/Romanesca perform and really the only one I've heard where I didn't want to return the CD because of Manze's limitations which I discussed. Again, unless you're a violinist looking for good technique emphasis, shun Manze like the plague unless there's absolutely no other choice for an alternative performance such as Goebels, or Biondi, or really any professional Early Baroque violinist! He's simply not a professional musician and instead an overly technical academic who gets more thrills from techniques than the music's ultimate purpose which is passion. It sure sounds like it and it's very painful to hear him trust me unless you like chalkboards being scratched! Get Goebels and Musika Antiqua Koln's as they are professionals who far surpass Manze in actually performing instead of just practicing at your expense. Their interpretations are really the only ones to bother getting for Biber or Early German Baroque. They also do many High Baroque works to perfection such as with their great performance of Teleman's Water Music.