Biber: Violin Sonatas
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CD Details
Composer: Heinrich Ignaz Franz von BiberPerformer: Romanesca
Edition: Music CD
Format: Import
CD Release Date: 2002-09-10
Music Label: Harmonia Mundi Fr.
Soundtracks:
Music CD 1
- Sonata for violin & continuo No. 1 in A major (Sonatae Violino Solo No. 1), C. 138: (Praeludium)/Presto
- Sonata for violin & continuo No. 1 in A major (Sonatae Violino Solo No. 1), C. 138: Variatio/Finale
- Sonata for violin & continuo No. 2 in D minor (Sonatae Violino Solo No. 2), C. 139
- Sonata for violin & continuo No. 3 in F major (Sonatae Violino Solo No. 3), C. 140: (Praeludium)/Aria e Variatio
- Sonata for violin & continuo No. 3 in F major (Sonatae Violino Solo No. 3), C. 140: Variatio
- Sonata for violin & continuo No. 4 in D major (Sonatae Violino Solo No. 4), C. 141: (Sonata)/Gigue
- Sonata for violin & continuo No. 4 in D major (Sonatae Violino Solo No. 4), C. 141: Adagio/Aria e Variatio/Finale
- Passacaglia (Mystery Sonata), for violin solo in G minor, C. 105
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Allegro
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Nachtigal (Nightingal
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): CuCu (Cuckoo)
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Fresch (Frog)
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Die Henn & Der Hann (
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Die Wachtel (Quail)
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Die Katz (Cat)
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Musqetir Mars (Musket
- Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, C. 146 (B. IV 184): Allemande
- Sonata for violin & continuo No. 5 in E minor (Sonatae Violino Solo No. 5), C. 142: (Praeludium)
- Sonata for violin & continuo No. 5 in E minor (Sonatae Violino Solo No. 5), C. 142: Variatio/Presto
- Sonata for violin & continuo No. 5 in E minor (Sonatae Violino Solo No. 5), C. 142: Aria e Variatio
- Sonata for violin & continuo No. 6 in C minor (Sonatae Violino Solo No. 6), C. 143: (Sonata)/Passacagli
- Sonata for violin & continuo No. 6 in C minor (Sonatae Violino Solo No. 6), C. 143: (Sonata)/Gavotte/(Finale)
- Sonata for violin & continuo No. 7 in G minor (Sonatae Violino Solo No. 7), C. 144: (Sonata)/Aria
- Sonata for violin & continuo No. 7 in G minor (Sonatae Violino Solo No. 7), C. 144: Adagio/Ciacona
- Sonata for violin & continuo No. 8 in G major (Sonatae Violino Solo No. 8), C. 145: (Sonata)/Aria/Sarabanda
- Sonata for violin & continuo No. 8 in G major (Sonatae Violino Solo No. 8), C. 145: Allegro/(Gigue)
- Pastorella, sonata for violin & continuo in A major, C. 106
- Passacaglia (Mystery Sonata), for violin solo in G minor, C. 105
Music reviews of Biber: Violin Sonatas
Music Review: Academic
Rating: 3 Stars
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.
Description of Biber: Violin Sonatas
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