Search - Heinrich Ignaz Franz von Biber, Romanesca :: Biber: Violin Sonatas

Astonishingly beautiful

Bob Zeidler | 01/21/2003

(5 out of 5 stars)

"this is some of the most spiritually uplifting, astonishingly beautiful music ever. it literally takes you to a place of great ravishment and joy.
recording, perfomers, selection and above all the composer are sheer perfection."

Like nothing I have ever heard!

Bob Zeidler | 01/30/2003

(5 out of 5 stars)

"What do you hope for when you try out a CD by a composer you've never heard before? I read a review of this Biber CD that intrigued me, and I thought I'd give it a try, as a change of pace from the many Bach, Vivaldi and other Baroque CDs I have. I had a preconception that this CD would sound pretty much like Vivaldi, which is a good thing, and it would be nice to have. What I got instead was the most pleasant and astonishing surprise I've gotten in quite a while. This music is not like anything else I have ever heard! It has a sweeping unfettered style that is delightfully unpredictable, and it presents a tonal soundscape that I have simply never heard before. The music is in turns joyful, mysterious, and deeply poignant. If you're looking for something new, and you think you've heard it all, you should try this CD. Unless you have already heard Biber done well, you have truely never heard anything like this, and you will be very happy you got this CD! Also check out Holloway on this same music - equally amazing."

Austria's contribution to 17th-century violin virtuosity

Alan Lekan | Boulder, CO | 10/19/2005

(4 out of 5 stars)

"Let's first give credit to the Austrian composer, HIF von Biber, for his most skillful, innovative and often-daring compositions here. Along with fellow-Austian Schmelzer's sonatas, these sonatas are musically-intriguing works and a marvelous contribution to the 17th-century virtuoso tradition that migrated north from Italy. Many of the sonatas are in the form of aria and variations. It is music worthy of deep exploration and appreciation. We are thankful for artists like Manze to help bring them to modern light.



Such difficult, fantasy-like compositions are the playground for only the most accomplished violinists such as Andrew Manze, who fully rises to the occasion here. Manze is famous for tackling such quirky and flamboyant 17th-century violin music with a most unique style and precision unlike any other performer. The highly-dramatic and gypsy-spirited fiddling that has made him famous is in full force in these Biber Sonatas - and nowhere more dramatic than in the most unusual "Sonata Representativa." This sonata grouping is as wild and unpredictable as they come and contains one short (1:06) but jaw-dropping virtuoso piece called the "Musketeer's March." Against a marvelously-performed and boldly-percussive continuo, Manze's powerful effects show us why he rules in this kind of music. It is extraordinary to hear - rhthymically-frenzied, fantastic and frenetic. Between the relentless rhythmic drive of North and Toll and Manze's astonishing, 'chromatic' slurrs and soaring riffs, this movement is one rightful reason for the "Manze craze."



The highlight of Mr. Manze's playing here (and in general) is most certainly his technical wizardry - throwing off effortless runs of demisemiquavers with great precision and rhythmic intensity. Less of a highlight for some will be his ability to make the violin sing aria-like melodies when the notes cool off to mere crotchets and semibreves. The tone he exudes is more direct and starker as compared to the "sweet" tone and singing voice that his fellow period-violinists are better known for (Podger, Biondi). Penguin Guide rightly calls his style "authentic period fiddling" and notes it will not be to the taste of everyone. So, it is a really a matter of what sounds good to your ears, and most people seem to like Manze's overall style thoughout the entire program. Some will resonate more with John Holloway, I tend to prefer Goebel's more melodic and silky violin sound on DG for these same works. Regardless of performer and preference, this extraordinary music is more the main point.



Both Penguin and Gramophone Guides gave this CD high marks, including a top 1995 Baroque-Music Award from the latter. Additionally, veteran music-critic David Hurwitz of ClassicsToday gave this recording (and the Rosary Sonata set) a perfect 10/10 for Artistry/Sound Quality. Indeed, the sound quality is fantatic (clear, full, optimally resonant) as is the creative and passionate continuo support of John Toll and Nigel North. Also most recommended is Romanesca's recording of Schmelzer Sontatas for all of the same reasons above. Compositions - 5 stars; Performance - 4 stars; Sound Quality - 5 stars; The ugly and strange cover art of the dead bird - 1 star."