Heinrich Ignaz Franz von Biber (correctlyBiber von Bibern;bapt. 12 August 1644 – 3 May 1704)[1] was a Czech-Austrian composer and violinist. Biber worked inGraz andKroměříž before he illegally left his employer, Prince-BishopKarl Liechtenstein-Kastelkorn, and settled inSalzburg.[1] He remained there for the rest of his life, publishing much of his music but apparently seldom, if ever, giving concert tours.
Biber was among the major composers for the violin in the history of the instrument. His own technique allowed him to easily reach the 6th and 7thpositions, employmultiple stops in intricate polyphonic passages, and explore the various possibilities ofscordatura tuning.[2][3][4] Among other pieces, Biber wrote operas, sacred music and music for chamber ensemble.[5] He also wrote one of the earliest known pieces for solo violin, the monumentalpassacaglia of theMystery Sonatas.[6]
During Biber's lifetime, his music was known and imitated throughout Europe. In the late 18th century he was named the best violin composer of the 17th century by music historianCharles Burney.[7] In the late 20th century Biber's music, especially theMystery Sonatas, enjoyed a renaissance. Today, it is widely performed and recorded.[7]
In summer 1670 Karl II sent Biber toAbsam, nearInnsbruck, to negotiate with the celebrated instrument makerJacob Stainer for the purchase of new instruments for the Kapelle.[8] Biber never reached Stainer, however, and instead entered the employ of theArchbishop of Salzburg, Maximilian Gandolph von Kuenburg.[3] Because Karl and Maximilian were friends,[7] Biber's former employer refrained from taking any action; he was, however, very hurt by the composer's decision, and waited until 1676 to officially issue his release papers. It is not coincidental that most of the autograph compositions Biber sent to Kremsier date from the early 1670s. Biber remained in Salzburg for the rest of his life.[1]
His musical and social careers flourished: he started publishing his music in 1676, performed before the EmperorLeopold I (and was rewarded by him) in 1677, became deputy Kapellmeister at Salzburg in 1679 and Kapellmeister in 1684.[7] In 1690 Biber was raised to nobility by the Emperor, with the title of Biber von Bibern. Finally, the new Archbishop of Salzburg, Johann Ernst, Count Thun, appointed Biber lord high steward, the highest social rank Biber would attain.[9]
Commemorative plaque next to Biber's grave inPetersfriedhof
The composer was married on 30 May 1672 at the bishop's summer residence,Hellbrunn Palace, just outside Salzburg.[10] His wife Maria Weiss was a daughter of a Salzburg merchant, citizen and tradesman, Peter Weiss. Together they had 11 children, four of whom survived to adulthood.[10] All were musically gifted. Anton Heinrich (1679–1742) andCarl Heinrich (1681–1749) both served as violinists at the Salzburg court, and the latter was promoted to Kapellmeister in 1743. Daughters Maria Cäcilia (born 1674) and Anna Magdalena (1677–1742) became nuns at Santa Clara,Merano, and theNonnberg Abbey, respectively. Anna Magdalena was an alto singer and a violinist, and in 1727 became director of the choir and the Kapelle of the Abbey.[9] She used her father'sSingfundament, a basic singing instruction book, for her work in the Abbey.[3]
On 3 November 1692, Biber was appointed steward by Archbishop Johann Ernst.[10][11] He then received hisCoat of arms.
Biber died in Salzburg on 3 May 1704. His grave is located in thePetersfriedhof.[10]
Biber's symbolic reconfiguration of the violin for the Resurrection sonata of theMystery Sonatas
Biber's violin music was possibly influenced, on one hand, by the Italian tradition ofMarco Uccellini andCarlo Farina, and on the other, by the then-nascent German polyphonic tradition as exemplified byJohann Heinrich Schmelzer, who may have been Biber's teacher. Biber's achievements included further development of violin technique – he was able to reach the 6th and 7thpositions, and his left-hand and bowing techniques were far more advanced than those of contemporary Italian composers. He also excelled at counterpoint, frequently writing fully polyphonic textures, with much use ofmultiple stops. Yet another area in which Biber made a substantial contribution was the art ofscordatura, i.e. music for alternative tunings of the instrument. Finally, much of Biber's music employs various forms ofnumber symbolism,affekte, programmatic devices, etc., as seen in the symbolic retuning of the violin for the Resurrection sonata of theMystery Sonatas.
During the latter half of the 17th century Biber was, together with the composers of the Dresden school (Johann Jakob Walther andJohann Paul von Westhoff), regarded as one of the best and most influential violinists in Europe. However, soon after his death, German violinists started following the style ofArcangelo Corelli and his imitators.
Biber's finest scordatura writing is represented in two collections. The first dates from c. 1676 and is known variously asMystery Sonatas,Rosary Sonatas (Mysterien Sonaten,Die Rosenkranz-Sonaten),Copper-Plate Engraving Sonatas, etc.,[4] remaining unpublished during the composer's lifetime. It comprises sixteen pieces: fifteen sonatas for violin andcontinuo portraying the fifteenMysteries of the Rosary, and a long passacaglia for solo violin. In the extant copy of the collection, each piece is accompanied by a small engraving depicting the mystery it portrays, while the image (an ink drawing) preceding the passacaglia depicts aguardian angel with a child. Only the first and the last pieces use normal tuning; all others employ some form ofscordatura:
The sonatas were dedicated to Maximilian Gandolph von Khuenburg, whom Biber addresses in the preface: "I have consecrated the whole to the honour of the XV Sacred Mysteries, which you promote so strongly." Although unpublished during the composer's lifetime, these works are his most popular pieces today, and one of the reasons for the revival of interest in his music. The entire set has been recorded by numerous violinists such asJohn Holloway,Andrew Manze, and many others. Sonata 15 is famous for one of its themes, which matches the theme ofPaganini'sCaprice No. 24 almost exactly; it is possible that Paganini was inspired by Biber, just asFranz Liszt,Johannes Brahms andSergei Rachmaninoff were later inspired by Paganini's Caprice.[12]
The second work in which Biber explored scordatura techniques isHarmonia artificioso-ariosa (1696), his last known published collection of instrumental music. It contains seven partitas for two instruments and basso continuo: five for two violins, one for twoviolas d'amore, and one for violin and viola. Six of the partitas require scordatura tunings, including those for viola and two violas d'amore; Biber uses the full potential of the technique, including all possibilities for complex polyphony: some of the pieces are in five parts, with both of the melodic instruments carrying two. No other chamber works by Biber use such devices, and the only other pieces to use scordatura are two of the sonatas included inSonatae violino solo of 1681. That collection comprises eight sonatas for violin and basso continuo, all noted already byCharles Burney in the late 18th century, for the brilliant virtuosic passages and elaborate structures. In contrast to bothMystery Sonatas andHarmonia, these works consist mostly of pieces in free forms (prelude, aria) or variations, rather than dances.
Biber's other published collections of instrumental music areSonatae tam aris quam aulis servientes (1676),Mensa sonora (1680), andFidicinium sacro profanum (1682/3).Sonatae tam aris contains sonatas in five, six or eight parts; some of them only use string instruments, some include one or two trumpets.Mensa sonora is a set of six partitas for one or two violins, viola, cello, and basso continuo, andFidicinium sacro profanum comprises twelve sonatas for one or two violins, two violas, and continuo. Finally, manuscript sources include numerous other pieces: fantasias, balletti, sonatas, etc. Among these are theBattalia, a programmatic "battle" piece which anticipates such latter-day techniques aspolytonality andcol legno playing,[13] and theSonata representativa, another typical 17th-century piece similar to works by Walther and Farina, which imitates various birds and animals.[2] An example of Biber's versatility in instrumental music is theSonata S Polycarpi, which is scored for eight trumpets and timpani.
Unlike most composers for the violin, Biber did not limit himself to music for the instrument. He was also a prolific composer of sacred vocal works:masses,requiems,motets, etc. Many of those were polychoral and employing large instrumental forces, inspired by the possibilities of the spacious interior of theSalzburg Cathedral. Among the polychoral works,Missa Salisburgensis (1682) is the best known. An expansive setting of the mass for sixteen voices and 37 instrumentalists (i.e. 53 parts total), it was previously attributed toOrazio Benevoli, but today Biber's authorship is certain. The instrumentation includes not only string ensembles, but also oboes,cornetts, trumpets, andtimpani. Among his many polychoral works arePlaudite tympana à 53 (1682)Vesperae à 32 (1693),Missa Bruxellensis (1696) andMissa Sancti Henrici (1697), which was composed for the occasion of the taking of the veil by his second daughter, Anna Magdalena, atNonnberg Abbey in Salzburg. In tribute to theEmperor Henry II, the second founding saint of theconvent, she took the name Maria Rosa Henrica when hernovitiate began in 1696. The Mass of Saint Henry is scored for a five-voice choir with two soprano lines and an 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 polychoral works, he was also capable of writing for smaller forces.Missa quadragesimalis is a simplea cappella setting (with only a continuo part provided) for four voices, as is theStabat Mater.
C. 53 – Arien à 4, for violin, 2 violas & continuo in A major
C. 54 – Ballettæ à 4
C. 55 – Ballettæ à 4 Violettae
C. 56 – Balletti à 4, for violin, 2 violas & continuo in G major
C. 57 – Balletti à 6
C. 58 – Baletti
C. 59 – Balletti lamentabili à 4
C. 60 – Balletto
C. 61 – Battalia à 10, for 3 violins, 4 violas, 2 violone, and continuo,(1673)
Harmonia artificioso-ariosa: diversi mode accordata (7partitas for 1 or 2 violins, 2 violas, 2 violas d'amore, and continuo in various combinations) (1696)
C. 62 – Partita, No. 1 in D minor
C. 63 – Partita, No. 2 in B minor
C. 64 – Partita, No. 3 in A major
C. 65 – Partita, No. 4 in E flat major
C. 66 – Partita, No. 5 in G minor
C. 67 – Partita, No. 6 in D major
C. 68 – Partita, No. 7 in C minor
"Mensa Sonora seu Musica Instrumentalis" (6 suites for violin, two violas, and continuo) (1680)
C. 69 – Pars, No. 1 in D major
C. 70 – Pars, No. 2 in F major
C. 71 – Pars, No. 3 in A minor
C. 72 – Pars, No. 4 in B flat major
C. 73 – Pars, No. 5 in E major
C. 74 – Pars, No. 6 in G minor
C. 75 – Serenada à 5 'Der Nachtwächter'
C. 76 – Trombet undt Musicalischer Taffeldienst à 4
C. 77 – Fantasia, for violin & continuo in D major
Fidicinium sacro-profanum (12 sonatas for 1 or 2 violins, 2 violas, and continuo) (1683)
C. 78 – Sonata, for 2 violins, 2 violas & continuo No. 1 in B minor
C. 79 – Sonata, for 2 violins, 2 violas & continuo No. 2 in F major
C. 80 – Sonata, for 2 violins, 2 violas & continuo No. 3 in D minor
C. 81 – Sonata, for 2 violins, 2 violas & continuo No. 4 in G minor
C. 82 – Sonata, for 2 violins, 2 violas & continuo No. 5 in C major
C. 83 – Sonata, for 2 violins, 2 violas & continuo No. 6 in A minor
C. 84 – Sonata, for violin, 2 violas & continuo No. 7 in D major
C. 85 – Sonata, for violin, 2 violas & continuo No. 8 in B flat major
C. 86 – Sonata, for violin, 2 violas & continuo No. 9 in G major
C. 87 – Sonata, for violin, 2 violas & continuo No. 10 in E major
C. 88 – Sonata, for violin, 2 violas & continuo No. 11 in C minor
C. 89 – Sonata, for violin, 2 violas & continuo No. 12 in A major
Rosary Sonatas (for violin inscordatura and continuo and apassacaglia for violin solo) (also known asMystery Sonatas andCopper-Engraving Sonatas) (1676)
C. 90 – Sonata, for violin & continuo No. 1 in D minor, (The Annunciation)
C. 91 – Sonata, for violin & continuo No. 2 in A 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 in A major, (The Finding in the Temple)
C. 95 – Sonata, for violin & continuo No. 6 in C 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 with Thorns)
C. 98 – Sonata, for violin & continuo No. 9 in A minor, (The Carrying of the Cross)
C. 99 – Sonata, for violin & continuo No. 10 in G minor, (The Crucifixion)
C. 100 – Sonata, for violin & continuo No. 11 in 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. 14 in D major, (The Assumption of our Lady)
C. 104 – Sonata, for violin & continuo No. 15 in C major, (The Crowning of the Blessed Virgin Mary)
C. App. 121 – Sonata Jucunda, for 2 violins, 3 violas & continuo in D major
Lost vocal works
Applausi festivi di Giove (cantata) (1687)
Li trofei della fede cattolica (cantata) (1687)
C. App. 20 –Alessandro in Pietra (opera) (1689)[15]
C. App. 31 –Trattenimento musicale del'ossequio di Salisburgo (cantata) (1699)
Questionable attribution
Sonata à 3 (for 2 violins and trombone) (Questionable attribution to Biber's early career as a novice composer) The theory that Biber wrote this suggestsAntonio Bertali as a teacher. Bertali wrote a number of similar sonatas for exactly the same scoring. This sonata could possibly be attributed to Bertali except that the violin passages are sometimes more fanciful than any other in Bertali's works.[16]
"Sonata Representativa for violin & continuo in A major", The Zarjaz, La Leggenda Del Block, Editio Seconda, Traite Pour Marbre Neon Harpe Et Voix – Basilcia Records BA 005
^Norwich, J. J. (1985–1993).Oxford illustrated encyclopedia. Judge, Harry George., Toyne, Anthony. Oxford [England]: Oxford University Press. p. 47.ISBN0-19-869129-7.OCLC11814265.
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