Heinrich Ignaz Franz von Biber Fidicunium Sacro-Profanum (12), sonatas for 1 or 2 violins, 2 violas & continuo, C. 78-89 Bibers twelve sonatas for various combinations of strings (violins, violas, tenor violas, violone in A) and continuo (organ, harpsichord) known collectively as the Fidicunium Sacro-Profanum were most likely published in 1682, and the edition was dedicated to Prince-Archbishop Max Gandolph. The occasion was to provide music for the celebrations that were held during the 1100th anniversary of the founding of the archdiocese of Salzburg by Saint Rupert. These religious festivities lasted over a week, with several services held each day in the four main churches. Preserved at the convent at Nonnburg, where Bibers daughter Maria Anna Magdelena took Holy Orders in 1696, are contemporary documents which indicate that instrumental sonatas were performed at the opening and close of a service, after the reading of the Epistle, and during the Communion and Post-Communion. Up to the 1680s, Bibers work had been characterized by unique innovations, such as the scordatura tunings of the Mystery Sonatas, narrative program pieces with startling effects such as the Battalia à 10 or the Peasants Journey to Church, and a general level of solo virtuosity in one or more ensemble parts. In the Fidicunium, Biber aims toward balanced forms, and a more integrated ensemble both in terms of equal technical challenge of the parts and in creating more interwoven, richer harmonies. However, like Bibers earlier sonatas, there are several contrasting sections within each piece. In Sonata I, a brief, descending melody with Allegro dance rhythms opens the sonata. This descending line is then harmonized, proceeding smoothly through closely related keys. Chromatic passing tones are mixed with standard diatonic modulations, providing a subtle offset effect. The alternation of Allegro and Adagio tempos occurs throughout. In Sonata II, following a pastorale-like Adagio intro, a lively Allegro with an ascending melody carries the spirit. A dance-like Presto accelerates, and after a short pause, returns to an Allegro with several embellishments that leads to a short Adagio. Sonata III has lovely imitative counterpoint that creates warm and lyric textures within this slow movement. The few embellishments are perfectly integrated to the spirit of the basic melody, one of the finest of the set. The faster passages segue smoothly into the more pensive sections. In Sonata V a propulsive two-note figure is used both in the melody and in the continuo parts to create interesting timbral and textural contrasts between the high and low strings. Sonata VII is permeated with compelling Slovakian dance rhythms. This intriguing sonata develops timbral contrasts by repeating passages in progressively higher registers. Sonata X is exciting for its flashy imitations amongst players, and for several sequences of suspensions that would later be identified closely with J. S. Bachs works.
Posted on: Tue, 02 Dec 2014 11:31:07 +0000
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