BIBER: Mystery (Rosary) Sonatas and other violin works

Pics: My favorite. DG/Eduard Melkus (LP original cover)

In this age of the free internet, many dispense with books/magazines and just read about things on the net. Can what's free be better?

One thing is for certain. Since much on the net lack a professional editorial hand, what we read require strong digestive juices, which many gullible people, beginners and even those beyond, unfortunately just plainly lack. This is as true in classical music as in hifi.

People interested in classical music should sample some of these magazines to see how people write about music and to learn about comparative reviews. Although like many I ridicule The Gramophone sometimes for its pro-UK stance, it's an undeniable source of quality information, and has never stopped to give me pleasure. Carefully navigate the page, read the current picks even if the choice may surprise you, and don't forget that after you register you can search for reviews for free. What is seven better is to hold it in hand. What I do is sometimes buy a few past issues at substantial discount. You can get 3 past-issues at Shun Cheong for $50. Try that, it may enrich your life more than sitting at the computer reading this or other Blogs.

It sounds like a "truism" that since reviewers get their stuff free their opinions must be discounted. But you shall be surprised how many submissions, from all labels, are summarily dismissed, and how many damned with faint praise. As usual with any magazine, there are writers that you like and those that you don't, so take your pick. Needless to say, the level of writing and criticism is several levels above those in HK magazines or newspapers. Keep in mind another "truism": people frequently praise what they have and disparage what they don't have, which makes independent opinions equally biased sometimes.

The reason I mentioned all this is that it's The Gramophone that introduced me to the world of Biber. A few years ago, I became interested after reading many of their reviews on Biber. I especially wanted to hear the Mystery Sonatas. One day, I was re-organizing my CDs and was shocked to discover a DG version (original CD edition) by Eduard Melkus that I have bought in a second-hand store years ago and never played (still wrapped). I played it and was dumbfounded by the beauty of the pieces. Where have they been all my life? Were it not for the magazine, my CDs would have just languished there for longer! Since then I have tried quite a bit of other Biber. As someone said, the real mystery is why Biber is not better known. Here is useful info on Biber and on his masterpiece, the Mystery (Rosary/Rosenkranz) Sonatas in particular. Pay attention to the scodatura technique for violin writing.

The other reason I am writing is that yesterday I found in the library the Brilliant Classics account by Walter Reiter, originally a Signum recording. This morning I have been listening to the 2 CDs. It is good but perhaps not the most inspiring, nonetheless a good starter at the superbudget price. However, there's no denial that the fiddling does not have the fanciful flight, spirituality and better continuo support (including organ by Lionel Rogg) of DG/Eduard Melkus. Unfortunately, the historic 1967 DG recording is out of print (and fetching good second-hand prices) though fortunately you can download it on DG's website.

I haven't heard many of the other versions of the Mystery Sonatas, but I have heard some of the major players in other comparable violin works by Biber. Based on my copies of Biber's Violin Sonatas played by Monica Huggett/Sonnerie and Andrew Manze/Romanesca, much as I adore those artists in other Baroque music I'd like to actually hear their Mystery Sonatas before investing (2 expensive CDs). You might want to read this user site for some excellent reviews. The one I really want to get is the (again) out-of-print DG/Reinhardt Goebel , though you can download it on DG's website. Maybe I'll do that if I cannot find a real copy soon.

In Biber I have less reservation about yet another prominent Baroque violinist from England. For me, John Holloway's ECM releases, which I cherish, have the depth missing from some others. Depth means flair as well as spitituality; none is complete without the duality. Perhaps one reason I like them is because of the deployment of organ as continuo (as in DG/Melkus). These works are enhanced by a contemplative element, and the organ can provide that in abundance. His work for ECM makes me most curious about Holloway's earlier Virgin issue of the Mystery Sonatas.

To me Biber's violin music is every bit as exciting as Bach's solo and accompanied violin works, and equally rewarding for their spirituality. I am sure I shall continue to add to my Biber library. Thanks to the magazines, it was not too late a discovery for me, and I hope that would be the case for you too.

Some interesting videos:

Mystery Sonata/Passacaglia (Andrew Manze)
Mystery Sonata/Passacaglia (Helene Schmidt)
Mystery Sonata (unknown performer)