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Heinrich Ignaz Franz Biber

A portrait of the composer, engraved by Paulus Seel for Biber’s 

Sonatae Violino solo  (1681)

Heinrich Ignaz Franz Biber von Bibern  (12 August1644 (baptised)–3May1704)wasa Bohemian-Austriancomposer  and  violinist. Born in the small Bohemiantown of Wartenberg (Stráž pod Ralskem), Biber workedat Graz and Kroměříž before he illegally left his Kremsier(Kroměříž) employer (Prince-Bishop Carl Liechtenstein-Castelcorno) and settled in Salzburg. He remained there

for the rest of his life, publishing much of his music butapparently seldom, if ever, giving concert tours.

Biber was one of the most important composers for theviolin in the history of the instrument. His technique al-lowed him to easily reach the 6th and 7th positions, em-ploy multiple stops in intricate polyphonic passages, andexplore the various possibilities of scordatura tuning. Healso wrote one of the earliest known pieces for solo vio-lin, the monumental passacaglia of the Mystery Sonatas .During Biber’s lifetime, his music was known and imi-tated throughout Europe. In the late 18th century he wasnamed the best violin composer of the 17th century by

music historian Charles Burney. In the late 20th centuryBiber’s music, especially the  Mystery Sonatas , enjoyed arenaissance. Today, it is widely performed and recorded.

1 Biography

Biber was born in   Wartenberg,   Bohemia   (now   Strážpod Ralskem, Czech Republic). Little is known abouthis early education, other than that he may have stud-ied at a Jesuit Gymnasium at Opava in Bohemia. Be-fore 1668 Biber worked at the court of Prince JohannSeyfried von Eggenberg in Graz, and then was employedby the Bishop of Olomouc,  Karl II von Liechtenstein-Kastelkorn, in Kroměříž. Biber’s associate from the early

1660s, Pavel Josef Vejvanovský, worked there as direc-tor of the Kapelle. Biber apparently enjoyed a good rep-utation, and his violin playing skills were very highly re-garded.

A panorama of Salzburg c.1712, by J. B. Homann

In summer 1670 Karl II sent Biber to   Absam, nearInnsbruck, to negotiate with the celebrated instrumentmaker Jacob Stainer for the purchase of new instrumentsfor the Kapelle. Biber never reached Stainer, however,and instead entered the employ of the Archbishop ofSalzburg, Maximilian Gandolph von Kuenburg. BecauseKarl and Maximilian were friends, Biber’s former em-ployer refrained from taking any action; he was, however,very hurt by the composer’s decision, and waited until1676 to officially issue his release papers. It is not co-incidental that most of the autograph compositions Biber

sent to Kroměříž date from the early 1670s. Biber re-mained in Salzburg for the rest of his life. His musicaland social careers flourished: he started publishing hismusic in 1676, performed before the Emperor (and wasrewarded by him) in 1677, became deputy Kapellmeis-ter at Salzburg in 1679 and Kapellmeister in 1684. In1690 Biber was raised to nobility by the Emperor, withthe title of Biber von Bibern. Finally, thenew Archbishopof Salzburg, Johann Ernst, Count Thun, appointed Biberlord high steward, the highest social rank Biber would at-tain.

The composer was married on 30 May 1672 at Schloss

Hellbrunn (the Bishop’s summer residence, just outsideSalzburg). His wife Maria Weiss was a daughter ofa Salzburg merchant. Together they had 11 children,

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2   2 WORKS 

four of whom survived to adulthood. All were musi-cally gifted. Anton Heinrich (1679–1742) andKarl Hein-rich (1681–1749) both served as violinists at the Salzburgcourt, and the latter was promoted to Kapellmeister in1743. Daughters Maria Cäcilia (born 1674) and AnnaMagdalena (1677–1742) became nuns at Santa Clara,

Merano, and the Nonnberg Abbey, respectively. AnnaMagdalena was an alto singer and a violinist, and in1727 became director of the choir and the Kapelle of theAbbey.

Biber died in Salzburg in 1704, but the location of hisgrave is unknown.

2 Works

Biber’s symbolic reconfiguration of the violin for the Resurrection

sonata of the Mystery Sonatas

Biber’s violin music was possibly influenced, on one hand,by the Italian tradition of  Marco Uccellini   and  CarloFarina, and on the other, by the then-nascent Germanpolyphonic tradition as exemplified by Johann HeinrichSchmelzer, who may have been Biber’s teacher. Biber’s

achievements included further development of violintechnique–he was able to reach the 6th and 7th positions,and his left-hand and bowing techniques were far moreadvanced than those of contemporary Italian composers.He also excelled at counterpoint, frequently writing fullypolyphonic textures, with much use of multiple stops.Yet another area in which Biber made a substantial con-tribution was the art of scordatura, i.e. music for al-ternative tunings of the instrument. Finally, much ofBiber’s music employs various forms of number symbol-ism, affekten, programmatic devices, etc., as seen in, forexample, the symbolic retuning of the violin for the Res-

urrection sonata of the Mystery Sonatas 

.During the latter half of the 17th century Biber was, to-gether with the composers of the Dresden school (Johann

Jakob Walther and Johann Paul von Westhoff), regardedas one of the best and most influential violinists in Eu-rope. However, soon after his death, German violinistsstarted following the style of Arcangelo Corelli  and hisimitators.

2.1 Instrumental music

Biber’s finest scordatura writing is represented in two col-lections. The first dates from c. 1676 and is knownvariously as   Mystery Sonatas ,   Rosary Sonatas   (Myste-

rien Sonaten, Die Rosenkranz-Sonaten), Copper-Plate En-

 graving Sonatas , etc., remaining unpublished during thecomposer’s lifetime. It comprises sixteen pieces: fif-teen sonatas for violin and continuo portraying the fifteenMysteries of the Rosary, and a long passacaglia for soloviolin. In the extant copy of the collection, each piece

is accompanied by a small engraving depicting the mys-tery it portrays, while the image (an ink drawing) preced-ing the passacaglia depicts a guardian angel with a child.Only the first and the last pieces use normal tuning; allothers employ some form of scordatura:

The sonatas were dedicated to Maximilian Gandolph vonKhuenburg, whom Biber addresses in the preface: “I haveconsecrated the whole to the honour of the XV SacredMysteries, which you promote so strongly.” Although un-published during the composer’s lifetime, these works arehis most popular pieces today, and one of the reasons forthe revival of interest in his music. The entire set hasbeen recorded by numerous violinists such as John Hol-loway, Andrew Manze, and many others. Sonata 15 isfamous for one of its themes, which matches the themeof Paganini's Caprice No. 24 almost exactly; it is pos-sible that Paganini was inspired by Biber, just as FranzLiszt, Johannes Brahms and Sergei Rachmaninoff werelater inspired by Paganini’s Caprice.[1]

The second work in which Biber explored scordaturatechniques is Harmonia artificioso-ariosa (1696), his lastknown published collection of instrumental music. Itcontains seven partitas for twoinstrumentsandbasso con-tinuo: five for two violins, one for twoviolas d'amore, andone for violin and viola. Six of the partitas require scor-datura tunings, including those for viola and two violasd'amore; Biber utilises the full potential of the technique,including all possibilities for complex polyphony: someof the pieces are in five parts, with both of the melodicinstruments carrying two. Interestingly, no other cham-ber works by Biber use such devices, and the only otherpieces to use scordatura are two of the sonatas included in

Sonatae violino solo of 1681. That collection compriseseight sonatas for violin and basso continuo, all noted al-ready by Charles Burney in late 18th century, for the bril-

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3

liant virtuosic passages and elaborate structures. In con-trast to both Mystery Sonatas  and Harmonia, these worksconsist mostly of pieces in free forms (prelude, aria) orvariations, rather than dances.

Biber’s other published collections of instrumental music

are Sonatae tam aris quam aulis servientes  (1676), Mensasonora (1680), and Fidicinium sacro profanum (1682/3).Sonatae tam aris containssonatas in five, six or eight parts;some of them only use string instruments, some includeone or two trumpets. Mensa sonora is a set of six partitasfor one or two violins, viola, cello, and basso continuo,and Fidicinium sacro profanum comprises twelve sonatasfor one or two violins, two violas, and continuo. Finally,manuscript sources include numerous other pieces: fan-tasias, balletti, sonatas, etc. Among these are the Bat-

talia, a programmatic “battle” piece which anticipatessuch latter-day techniques as  polytonality and  col legno

playing, and the   Sonata representativa, another typical

17th-century piece similar to works by Walther and Fa-rina, which imitates various birds and animals. An ex-ample of Biber’s versatility in instrumental music is theSonata S Polycarpi , which is scored for eight trumpets andtimpani.

2.2 Sacred music

Unlike most composers for the violin, Biber did not limithimself to music for the instrument. He was also a pro-lific composer of sacred vocal works: masses, requiems,motets, etc. Many of those were polychoral and em-ploying large instrumental forces, inspired by the possi-bilities of the spacious interior of the Salzburg Cathe-dral. Among the polychoral works,   Missa Salisburgen-

sis   (1682) is the best known. An expansive setting ofthe mass for sixteen voices and 37 instrumentalists (i.e.53 parts total), it was previously attributed to OrazioBenevoli, but today Biber’s authorship is certain. The in-strumentation includes not only string ensembles, but alsooboes, cornetts, trumpets, and timpani. Among his manypolychoral works are Plaudite tympana à 53 (1682) Ves-

 perae à 32 (1693),  Missa Bruxellensis  (1696) and  Missa

Sancti Henrici  (1697), which was composed for the occa-sion of the taking of the veil by his second daughter, AnnaMagdalena, at Nonnberg Abbey in Salzburg. In tribute tothe Emperor Henry II, the second founding saint of theconvent, she took the name Maria Rosa Henrica whenher novitiate began in 1696. The Mass of Saint Henry isscored for a five-voice choir with two soprano lines andan orchestra of two violins, three violas, two trumpets,timpani and continuo, with optional extra trumpets andsackbuts to double the voice parts.

Although Biber is best known for the massive polychoralworks, he was also capable of writing for smaller forces.

Missa quadragesimalis  is a simple a cappella setting (withonly a continuo part provided) for four voices, as is theStabat Mater .

3 List of works (selection)

•   C. 1 – Missa Alleluja à 36

•   C. 2 – Missa Sancti Alexii

•   C. 3 – Missa Christi resurgentis•  C. 4 – Missa ex B

•   C. 5 – Missa Quadragemisalis

•   C. 6 – Missa Sancti Henrici

•   C. 7 – Requiem à 15 in Concerto

•   C. 8 – Requiem ex F con terza minore

•  C. 9 – Laetatus sum a 7

•   C. 10 – Nisi Dominus a 2, violino e basso

•  Vesperae à 32

•  C. 11 – Dixit Dominus

•   C. 12 – Magnificat

Vesperae longiores ac breviores (1693)

•  C. 13 – Dixit Dominus

•   C. 14 – Confitebor tibi Domine

•  C. 15 – Beatus vir

•   C. 16 – Laudate, pueri, Dominum

•  C. 17 – Laudate Dominum

•   C. 18 – Magnificat

•  C. 20 – Laudate pueri

•  C. 23 – Lauda Jerusalem

•   C. 43 – In Festo Trium Regium, Muttetum Natale à6

•   C. 44 – Litaniae de Sancto Josepho

•  C. 45 – Lux perpetua

•  C. 46 – Huc poenitentes

•   C. 47 – Ne cedite mentes

•  C. 48 – Quo abiit dilectus tuus a 8 (Offertorium inFesto 7 dolorum)

•   C. 49 – Salve Regina

•  C. 51 – Arminio, chi la dura la vince. Dramma mu-sicale in three acts

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4   4 INSTRUMENTAL MUSIC 

4 Instrumental music

•  C. 52 – Arien à 4

•   C. 53 – Arien à 4, for violin, 2 violas & continuo inA major

•   C. 55 – Ballettae à 4 Violettae

•  C. 56 – Balletti à 4, for violin, 2 violas & continuoin G major

•  C. 58 – Balletti

•   C. 59 – Balletti Lamentabili à 4

•  C. 60 – Balletti

•  C. 61 – Battalia à 10, for 3 violins, 4 violas, 2 vio-lone, and continuo,(1673)

•   Harmonia artificioso-ariosa: diversi mode accor-data (7  partias  for 1 or 2 violins, 2 violas, 2 vio-las d'amore, and continuo in various combinations)(1696)

•  C. 62 – Partia, No. 1 in D minor

•  C. 63 – Partia, No. 2 in B minor

•   C. 64 – Partia, No. 3 in A major

•   C. 65 – Partia, No. 4 in E flat major

•  C. 66 – Partia, No. 5 in G minor

•   C. 67 – Partia, No. 6 in D major

•  C. 68 – Partia, No. 7•  “Mensa Sonora seu Musica Instrumentalis” (6 suites

for violin, two violas, and continuo) (1680)

•  C. 69–74

•   C. 75 – Serenada à 5 'Der Nachtwächter'

•   C. 76 – Trombet-undt Musicalischer Taffeldienst à4

•   Fidicinium sacroprofanum (12 sonatas for 1 or 2 vi-olins, 2 violas, and continuo) (1683)

•  C. 78–89

•   Rosary Sonatas   (for violin in scordatura and con-tinuo and a passacaglia for violin solo) (also knownas  Mystery Sonatas  and  Copper-Engraving Sonatas )(1676)

•   C. 90 – Sonata, for violin & continuo No. 1 inD minor, (The Annunciation)

•   C. 91 – Sonata, for violin & continuo No. 2 inA major, (The Visitation)

•   C. 92 – Sonata, for violin & continuo No. 3 in

B minor, (The Nativity)•   C. 93 – Sonata, for violin & continuo No. 4 in

D minor, (The Presentation)

•   C. 94 – Sonata, for violin & continuo No. 5 inA major, (The Finding in the Temple)

•   C. 95 – Sonata, for violin & continuo No. 6 inC minor, (The Agony in the Garden)

•   C. 96 – Sonata, for violin & continuo No. 7 in

F major, (The Scourging of Jesus)•   C. 97 – Sonata, for violin & continuo No. 8

in B flat major, (The Crowning of Jesus withThorns)

•   C. 98 – Sonata, for violin & continuo No. 9 inA minor, (The Carrying of the Cross)

•  C. 99 – Sonata, for violin & continuo No. 10in G minor, (The Crucifixion)

•   C. 100 – Sonata, for violin & continuo No. 11in G major,(The Resurrection)

•   C. 101 – Sonata, for violin & continuo No. 12

in C major, (The Ascension)•   C. 102 – Sonata, for violin & continuo No. 13

in D minor, (The Descent of the Holy Ghost)

•   C. 103 – Sonata, for violin & continuo No. 14in D major, (The Assumption of our Lady)

•   C. 104 – Sonata, for violin & continuo No. 15in C major, (The Crowning of the Blessed Vir-gin Mary)

•   C. 105– Passacaglia, for violin solo in G minor

•   C. 106 – Pastorella, sonata for violin & continuo in

A major

•   C. 108 – Sonata, for violin & continuo in E major

•  C. 109 – Sonata a 6

•   C. 110 – Sonata à 6 “Die pauern kirchfartt genandt”,for 3 violins, 2 violas & continuo in B-flat major

•   C. 111 – Sonata à 7, 6 Tromb, Tramburin conOrgano Ao. 1668

•  C. 112 – Sonata 'pro tabula' for 5 recorders, 2 vio-lins, 3 violas & continuo in C major

•   C. 113 – Sonata Sancti Polycarpi

•  Sonatae tam aris quam aulis servientes  (12 sonatasfor 5–8 instruments [trumpets, strings, and con-tinuo] in various combinations) (1676)

•   C. 114 – Sonata, for 2 trumpets, 2 violins, 2violas & continuo No. 1 in C major

•   C. 115 – Sonata, for 2 violins, 3 violas & con-tinuo No. 2 in D major

•   C. 116 – Sonata, for 2 violins, 3 violas & con-

tinuo No. 3 in G minor•  C. 117 – Sonata, for trumpet, violin, 2 violas

& continuo No. 4 in C major

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4.1 Lost vocal works    5

•   C. 118 – Sonata, for 2 violins, 3 violas & con-tinuo No. 5 in E minor

•   C. 119 – Sonata, for 2 violins, 2 violas & con-tinuo No. 6 in F major

•   C. 120 – Sonata, for 2 trumpets, 2 violins &

continuo No. 7 in C major•   C. 121 – Sonata, for 2 violins, 2 violas & con-

tinuo No. 8 in G major

•   C. 122 – Sonata, for 2 violins, 2 violas & con-tinuo No. 9 in B flat major

•  C. 123 – Sonata, for trumpet, violin, 2 violas& continuo No. 10 in G minor

•   C. 124 – Sonata, for 2 violins, 2 violas & con-tinuo No. 11 in A major

•   C. 125 – Sonata, for 2 trumpets, 2 violins, 2violas & continuo No. 12 in C major

•

 C. 126–137 – A due No. 1–12•  Sonatae violino solo (8 sonatas for violin and con-

tinuo) (1681)

•  C. 138 – Sonata, for violin & continuo No. 1in A major

•  C. 139 – Sonata, for violin & continuo No. 2in D minor

•  C. 140 – Sonata, for violin & continuo No. 3in F major

•  C. 141 – Sonata, for violin & continuo No. 4in D major

•  C. 142 – Sonata, for violin & continuo No. 5in E minor

•  C. 143 – Sonata, for violin & continuo No. 6in C minor

•  C. 144 – Sonata, for violin & continuo No. 7in G minor

•  C. 145 – Sonata, for violin & continuo No. 8in G major

•   C. 146 – Sonata violino solo representativa (Repre-sentatio Avium), for violin & continuo in A major,1669?

•   C. 147 – Sonata, for solo violin in A major

•   C. App. 100 – Missa Bruxellensis

•   C. App. 101 – Missa Salisburgensis

•  C. App. 106 – Hymnus “Plaudite Tympana”

•  C. App. 111 – Harmonia Romana

•  C. App. 117 – Sonata à 3 “AB”

•  C. App. 118 – Sonata à 3 (“AB”)

•  C. App. 119 – Sonata à 4 (“H.B.”)

•   C. App. 121 – Sonata Jucunda, for 2 violins, 3 violas& continuo in D major

4.1 Lost vocal works

•  Applausi festivi di Giove (cantata) (1687)

•   Li trofei della fede cattolica (cantata) (1687)

•  Alessandro in Pietra (opera) (1689)  [2]

•   Trattenimento musicale del'ossequio di Salisburgo

(cantata) (1699)

•  Sonata à 3 (for 2 violins and trombone) (Question-able attribution to Biber’s early career as a novicecomposer) The theory that Biber wrote this suggestsAntonio Bertali as a teacher. Bertali wrote a numberof similar sonatas for exactly the same scoring. Thissonata could possibly be attributed to Bertali exceptthat the violin passages are sometimes more fancifulthan any other in Bertali’s works.[3]

5 See also

•   Pavel Josef Vejvanovský

•  Andreas Hofer (composer)

•  Jan Křtitel Tolar

•  Vinzenz Fux

•  Stylus fantasticus

6 Selected recordings

•   Requiem à 15 Vesperae à 32,  Els Bongers, AnneGrimm,   Kai Wessel, Peter de Groot, MarcelReyans, Simon Davies, René Steur, Kees-Jan deKoning,  Amsterdam Baroque Orchestra & Choir,Ton Koopman

•  Missa Bruxellensis – Jordi Savall, Le Concert desNations, La Capella Reial de Catalunya – Alia Vox9808

•   Requiem / Battalia – Jordi Savall, La Capella Reialde Catalunya, Le Concert des Nations – Alia Vox9825

•  “Sonata Representativa for violin & continuo in Amajor”, The Zarjaz, La Leggenda Del Block, EditioSeconda, Traite Pour Marbre Neon Harpe Et Voix– Basilcia Records BA 005

•   “Mensa sonora and Sonata representativa”,Reinhard Goebel,  Musica Antiqua Köln – ArchivProduktion (DG) 423701

•   “The Rosary Sonatas”,   Richard Egarr,   AndrewManze, Alison McGillivray,   Harmonia Mundi907321

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6   9 EXTERNAL LINKS 

7 Notes

[1]  Hyperion Records|Heinrich Biber

[2] Karl Heinrich Wörner, Wolfgang Gratzer, Lenz Meierott(1993):   Geschichte der Musik: ein Studien- und Nach-

schlagebuch at  Google Books, p. 229. Vandenhoeck &Ruprecht, ISBN 3-525-27811-X.

[3]  Linn Records – Virtuoso in the Making — Biber

8 References

•  Dann, Elias, and Sehnal, Jiří. “Heinrich Ignaz Franzvon Biber”. In Macy, Laura.   Grove Music On-

line. Oxford Music Online. Oxford University Press.(subscription required)

9 External links

•  Heinrich Biber homepage (includes discography)

•  Free scores by Heinrich Ignaz Franz Biber  at theInternational Music Score Library Project

•

•  Free scores by Heinrich Ignaz Franz Biber  in theChoral Public Domain Library (ChoralWiki)

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10 Text and image sources, contributors, and licenses

10.1 Text

•   Heinrich Ignaz Franz Biber   Source:  http://en.wikipedia.org/wiki/Heinrich%20Ignaz%20Franz%20Biber?oldid=636811584   Contribu-

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10.2 Images

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