Biber is generally known as a composer of works for solo violin and scordatura works for that instrument. However, he wrote many sacred choral works and stage pieces as well as numerous works for instrumental ensembles. Among these is the collection, Mensa sonora seu musica instrumentalis for violin, two violas, and basso continuo, published by J. B. Mayr in Salzburg in 1680, a year after Biber had been promoted to vice-Kapellmeister at the Salzburg court. Several manuscripts of the work still exist. Biber's intention was "to tender in all dutifulness the noble jewel of homophony, concordant with obedient and humble veneration," to his Salzburg patron, Archbishop Maximilian Gandolph, Count Khüenburg. Biber's numerous publications and performances outside Salzburg in the early 1680s suggest he was shamelessly promoting his talents in order to petition for knighthood from Emperor Leopold, before whom Biber performed on at least two occasions.

The full title of the Mensa sonora translates roughly as, "The Sonorous Table, or Instrumental Table Music." Thus, the suites of Mensa sonora are in the tradition of Tafelmusik, composed as background to a social occasion. They also serve as a example of one of Biber's compositions in the sonata da camera style. The Mensa sonora requires less technique than his scordatura pieces or the Fidicinium sacro-profanum of 1683. Here, violin virtuosity steps aside for compositional virtuosity.

Each of the six partitas in the Mensa sonora is a series of stylized dance movements; some begin with a sonata or "intrada" movement (Pars 1-2, 4-6) and end with a sonatina or "retirada" (Pars 1, 3-6). The first, in D major, is a French suite sandwiched between two Germanic outer movements: Sonata, Allamanda, Courante, Sarabanda, Gavotte, Gigue, Sonatina. In F major, the second suite consists of an Intrada and alternating Balletto and Sarabande movements. The third, in A minor, is a more eclectic assemblage of dances: Gagliarda, Sarabanda, Aria, Ciacona, Sonatina.

Some scholars have suggested that the presence of a "learned" Ciacona in the third and sixth suites indicates that the set is in two parts of three suites each. The key relationships, however, do not support this, because the third, in B flat major (Sonata, Allamanda, Courante, Balletto, Sarabanda, Gigue, Sonatina), is not harmonically related to the fifth, in A major (Intrada, Balletto, Trezza, Gigue, Gavotte, Gigue, Retirada). The most unusual combination of dances appears in the sixth, in G minor: Sonata, Aria, Canario, Amener, Trezza, Ciacona, Sonatina.

Most curious is Biber's use of the "canario," an Italian dance with roots in the sixteenth century and danced in Austrian courts during Biber's time. Other examples of the "canario" appear in Biber's Balletti à 6 and his Harmonia Artificioso-Ariosa. Described by Biber's contemporaries as and "exotic, bizarre dance," the canario is in 3/4 and usually begins on the first beat of the measure with a dotted figure. It was a quick and difficult dance, and its inclusion in these dance suites by Biber is indicative of his cosmopolitan approach to composition.

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