Like many of his German and Austrian contemporaries, Bohemian-born composer Heinrich von Biber was strongly influenced by the Italian school of violin composition that included Biagio Marini (1587-1665) and Marco Uccellini (1603-1680). A noted virtuoso himself, Biber and his teacher Johann Heinrich Schmelzer (1621-1680) were two of the most important figures of the late seventeenth-century Viennese violin style. Biber's keen understanding of the technical and expressive possibilities of the instrument is evident in his innovative use of pizzicato (plucking of the string with the finger), double and triple stops (more than one note played at once creating "chords"), col legno (stick of the bow on the string), sul ponticello (played close to the bridge), and, especially, scordatura (intentional "mistuning" of the strings). Scordatura allowed the performer to play chords in particular keys more easily, extended the range of notes, and provided more open strings in order to negotiate the difficulty of polyphonic writing for a single instrument. Biber's imaginative and original use of these techniques or special effects brought violin virtuosity to an entirely new level of musical expression in the Baroque period. It can be argued that J. S. Bach's masterful Sonatas and Partitas for Solo Violin, written in 1720, are direct descendants of Biber's grounding breaking Mystery or Rosary Sonatas, composed nearly a quarter of a century earlier.

The Harmonia artificiosa-ariosa, a collection of seven partitas or suites, calls for violin, viola, and continuo (keyboardist was expected to "flesh out" or harmonize over the bass part). Technically trio sonatas, they were not published until eight years after Biber's death. Five are specifically scored for two violins, one for one violin and one viola, and one for two violas. Six of the seven partitas utilize the above-mentioned scordatura tuning, extending the potential of the instruments in terms of harmony, sonority, and technical capabilities. Imitation and counterpoint are often used. Each partita follows a similar structure: praeludium or sonata as introduction (usually improvisatory in nature or recitative-like), series of dance movements such as gigue or allamande, aria, and sets of variations. These variations presented opportunities for the kind of virtuosic fireworks and figuration that thrilled the ear. This particular format and style of composition seems to have derived from the earlier English viol or Italian viola bastarda tradition (sixteenth-century forerunners of the cello).

The Ciacona of Partita No. 3 is a delightfully crafted strict canon in unison. (Fans of Johann Pachelbel's famous Canon in D will love this.) An exciting highlight of Partita No. 6 is its aria with thirteen variations including another canon with the two upper voices only a half beat apart. Partita No. 7 is a perfect example of Biber's ability to convey a rich range of feeling while challenging the performer's technical skill. From contemplative introversion to bold abandon, each movement gives birth to a new musical experience. The drama and pathos of the Praeludium, in this final partita, are emphasized by the overriding minor tonality and autumnal quality of the two violas. (It must be noted that the use of viola as a solo instrument was unusual at this time.) Contrasting this movement is the joyful, peasant-like quality of the Terza, sounding very much like a rustic dance. The suite ends with a poignant Arietta, in this case, a set of variations over a repetitive ground bass. Full of longing and passion with flashes of brilliant bravura, it is further complicated by moments of resignation and complete calm. Infinite variety, unique inspiration, and emotional depth characterize these stunning examples of early violin repertoire from the pre-Bach era.

© All Music Guide

Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.