Lucie Sedláková Hůlová, Jaroslav Tůma - Biber Rosary Sonatas (Ruzencove sonaty) (2020)
BAND/ARTIST: Lucie Sedláková Hůlová, Jaroslav Tůma
- Title: Biber Rosary Sonatas (Ruzencove sonaty)
- Year Of Release: 2020
- Label: Arta Music
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 02:06:29
- Total Size: 591 mb
- WebSite: Album Preview
Tracklist
CD1
01. Sonata No. 1 in D Minor: Praeludium
02. Sonata No. 1 in D Minor: Variatio
03. Sonata No. 1 in D Minor: Finale
04. Sonata No. 2 in A Major: Sonata
05. Sonata No. 2 in A Major: Allaman
06. Sonata No. 2 in A Major: Presto
07. Sonata No. 3 in B Minor: Sonata
08. Sonata No. 3 in B Minor: Courente
09. Sonata No. 3 in B Minor: Adagio
10. Sonata No. 4 in D Minor: Ciacona
11. Sonata No. 5 in A Major: Praeludium
12. Sonata No. 5 in A Major: Allaman
13. Sonata No. 5 in A Major: Guigue
14. Sonata No. 5 in A Major: Saraban
15. Sonata No. 6 in C Minor: Lamento
16. Sonata No. 6 in C Minor: —
17. Sonata No. 6 in C Minor: Adagio
18. Sonata No. 7 in F Major: Allamanda
19. Sonata No. 7 in F Major: Sarabanda
20. Sonata No. 8 in B-Flat Major: Sonata
21. Sonata No. 8 in B-Flat Major: Guigue
22. Sonata No. 9 in A Minor: Sonata
23. Sonata No. 9 in A Minor: Courente
24. Sonata No. 9 in A Minor: Finale
25. Sonata No. 10 in G Minor: Praeludium
26. Sonata No. 10 in G Minor: Aria
CD2
01. Sonata No. 11 in G Major: Sonata
02. Sonata No. 11 in G Major: Surrexit Christus hodie
03. Sonata No. 11 in G Major: Adagio
04. Sonata No. 12 in C Major: Intrada
05. Sonata No. 12 in C Major: Aria Tubicinum
06. Sonata No. 12 in C Major: Allamanda
07. Sonata No. 12 in C Major: Courente
08. Sonata No. 13 in D Minor: Sonata
09. Sonata No. 13 in D Minor: Gavott
10. Sonata No. 13 in D Minor: Guigue
11. Sonata No. 13 in D Minor: Sarabanda
12. Sonata No. 14 in D Major: —
13. Sonata No. 14 in D Major: Aria
14. Sonata No. 15 in C Major: Sonata
15. Sonata No. 15 in C Major: Aria
16. Sonata No. 15 in C Major: Canzon
17. Sonata No. 15 in C Major: Sarabanda
18. Passagalia in G Minor (For Solo Violin)
The Rosary Sonatas by Heinrich Ignaz Franz Biber are considered an absolutely unique phenomenon in music history. This fact is shown by the following combination – the music itself, its dedication to the fifteen mysteries of the rosary and the technical requirements of both the violin itself and the interpreting violinist.
The work was written about 1676 in Salzburg and was dedicated to the Salzburg Duke
-Archbishop Maximilian Gandolph Count von Kuenburg who was at the head of the Archdiocesan See, from 1668 to 1687. The composition faded into oblivion later and was rediscovered only in 1905. Since that time, it is regarded not only as a pearl of music hi
Like the date of its composition, the concrete assignment of the work and its connection with the mysteries of the rosary are veiled in a certain amount of uncertainty, in all its dimensions, as if this piece of music would rise from the fog and would only gradually gain clear contours. In that sense, the small painting of the little angels throwing roses, as depicted on the CD cover, is pertinent as it is a detail of the altarpiece located in the church in Hornн Police (Czech Republic), representing the Visitation of Our Lady and painted by Franz Hagen, about whom little is known. In his composition, Biber simply threw the roses of the individual sonatas and their parts to us, and what we succeed in catching is up to us. On the one hand, one can consider the certain mysteriousness of the whole project while, on the other hand, the listener may look forward never to be upset with having listened to the CD too many times because it is possible to find something new again and again in this work, to catch the rose thrown by the angel in just another way.
The connection of Biber’s sonatas with the prayer of the rosary is to be derived both from the title “Mystery Sonatas” and from the copper engravings accompanying the original edition of the sonatas and depicting the fifteen mysteries of the rosary. The sixteenth copper engraving, which precedes the passacaglia for solo violin, represents the Guardian Angel. Moreover, these copper engravings were found in another context. A leaflet of the Brotherhood of the Rosary was discovered in the Archive of the Archdiocese of Salzburg, in 2008; the copper engravings are represented in the same manner as in the leaflet. Therefore, one can relate the composition of the Rosary Sonatas to this Brotherhood, founded in 1676, as well as to the increase in pilgrimages to the nearby pilgrim destination Maria Plain, where the above-mentioned Salzburg Archbishop consecrated a new church in 1674.
Based on this information, the listener might expect that the Rosary Sonatas would be a sort of programmatic music in which the mysteries are to be heard. Nevertheless, the sonatas seem to emerge from the fog, also in this dimension, since they attain clear contours only gradually. Of course, it is possible that the listener will perceive the whizz of the angel’s wings in the quick passages in the first sonata, the beating of a whip in the repeated saraband figures in the seventh sonata, the blows of the hammer in staccato rhythms in the tenth sonata and the tearing of the veil in the sanctuary in Jerusalem in its fast sections. In the eleventh sonata, the echo of the Easter song allows us no suspicion that this piece of music deals with the Resurrection of Jesus. In the following sonata, its solemn key, the rhythm and the rising melody may simply evoke the Ascension of Jesus into heaven. However, there are a number of parts which clearly can be attributed to any of the mysteries of the rosary yet the message of the tones for that particular mystery seems to be hidden to us. The composition may sometimes be explicitly confusing. For instance, I have been convinced for a long time that the scordatura, with the crossed middle strings, should clearly recall the cross and the Crucifixion of Jesus and yet it is used in the following sonata related to the Resurrection of Jesus.
Despite all this, we can try to find a certain illustration of the content of the mysteries of the rosary in the individual sonatas.
The first five sonatas reflect on the five Joyful Mysteries. These mysteries have to do with the beginning of human salvation in Jesus Christ and with the events that occurred immediately before the birth of Jesus as well as episodes from his childhood.
The first sonata, regarding the Annunciation, is composed in the key of D minor and has normal violin tuning. At the beginning we may perceive the arrival of the Angel and his words: “Do not be afraid, Mary, for you have found favour with God” (Lk 1:30). A quieter passage follows, evoking Mary’s humility. Afterwards we hear variations developed above the basso ostinato, which are full of both peace and disquiet. The conclusion of the sonata may be able to image both the Angel as he departs, and the words of the Holy Scripture related to the coming Messiah: “Of his kingdom there will be no end” (Lk 1:33).
The second sonata regards the mystery of the Visitation. The violin is tuned in fifths and octaves on the tones A, E1, A1 and E2. The key of A major creates for us an intimate and peaceful atmosphere, characteristic of the meeting of two women who communicate the joyful news to each another that they will become mothers. The allemande and the final presto express the delight radiating from the Magnificat: “Behold, from now on all ages will call me blessed. The Mighty One has done great things for me” (Lk 1:48-49).
The Birth of Our Lord and the Adoration of the Shepherds are the topics of the third sonata in B minor. The violin is tuned in the scordatura B, F sharp1, B1 and D2. The sonata starts with a meditative passage followed by the solemn proclamation of the heavenly choirs: “Glory to God in the highest and on earth peace to those on whom his favour rests” (Lk 2:14). A short presto follows, probably representing the shepherds hurrying to the crib. Afterwards the music returns to its original tempo. The dancing courante melody is sensitively and gradually embellished and may represent the adoration of the shepherds and their gifts brought to the new-born Child. The adagio brings the sonata to its end awakening a peaceful, humble but yet solemn air of adoration.
The Presentation in the Temple is depicted in the fourth sonata in the key of D minor with the scordatura A, D1, A1 and D2. The sonata has only one part in the musical form of a chaconne in which the bass motif is repeated thirteen times. Over the bass motif the composer arranged diverse melodic and virtuoso variations for violin, as if the music represents Simeon holding the small Jesus in his arms and, at the same time, showing him to us, again and again, as the one who has become the fulfilment of his hopes: “Now, Master, you may let your servant go in peace, according to your word, for my eyes have seen your salvation. A light for revelation to the Gentiles, and glory for your people Israel” (Lk 2:29-30.32).
The fifth sonata in the key of A major and with the scordatura A, E1, A1 and C sharp2 is dedicated to the mystery of the rosary contemplating the Twelve-year old Jesus in the Temple. At the beginning of the sonata we hear a short, rhythmically precise motif reminding us of Jesus’ words pronounced in the Temple, which were clear and astonished the people present. The subsequent allemande may depict the strength of Jesus’ words and its perky feature may recall the ease of his argumentation. The gigue that follows evokes the same impression in the listener’s mind. The saraband leads us to adoration of this young man, whom we identify as the Son of God. The fast figures double concluding the sonata confirm our persuasion. Although the concern for the lost Jesus on his return from Jerusalem and a certain bewilderment after being found are usually a part of this rosary mystery, it seems that this motif is not to be found in the sonata. But, who knows.
The second set of five sonatas is dedicated to the Sorrowful Mysteries, that is, to the passion of Jesus.
The sixth sonata in the key of G minor with the scordatura A flat, E flat1, G1 and D2 recalls the Agony of Jesus in the Garden of Gethsemane. It is an incredibly expressive lamentation manifesting the suffering, the cry of the soul in the face of the dreaded agony, fear and trembling, but also a harmony evidencing the firm union with God. It is perhaps the most beautiful and the most impressive sonata. In the middle of the sonata there is a saraband bringing an air of consolation through its quiet rhythm. In the composition, in a minor key, there is sometimes a flash of a major chord or a short passage evoking the consoling acceptance of God’s will: “Yet, not my will but yours be done” (Lk 22:42).
The seventh sonata in the key F major with the scordatura C1, F1, A1 and C2 calls to mind the Scourging of Jesus. There are not very many tragic tones in this sonata. The atmosphere of the work points to the fact that Jesus has accepted his passion as a mission given to him by the Father and, with this assurance, he is capable of rising above the physical suffering. We may discern the scourging in the saraband, in the second half where, in a certain fashion, an abrupt and discontinuous rhythm is scored for the violin part. Nevertheless, we do not encounter hopelessness in this piece, if only occasionally in the next to last variation, to elicit the listener’s peaceful compassion.
B flat major is the key of the eighth sonata meditating on Jesus Being Crowned with Thorns. The scordatura of this sonata is composed of tones D1, F1, B flat1 and D2. The adagio at the beginning shows the dignity of Jesus being humiliated. The following presto, with its roughness, represents the actual crowning with thorns, in all the brutality of that act. Afterwards, the composition returns to a compassionate tone. The gigue with both doubles is regarded as a certain coronation hymn responding to Pilate’s question: “Then you are a king?” with the words: “You say I am a king” (Jn 18:37).
Christ Carrying the Cross to Golgotha represents the subject of the ninth sonata in the key of A minor and with the scordatura C1, E1, A1 and E2. The beginning of the sonata, with its slowly ascending and marching melody over the bass, evokes the ascent to Golgotha. The calm music is interrupted with wild passages, which probably depict the shouting, hateful crowd. At the end of the first part we may hear triplets which could symbolise Jesus’ exhaustion. The courante starts in a conciliatory manner and is probably a reflection on Simon of Cyrene helping Jesus to carry the cross. However, the quick changes depict Jesus’ exhausting climb up the hill. In this sonata some motifs appear that are heard in the first one, as if the composer wanted to emphasize that what was announced to Mary was fulfilled through the walk up to Golgotha. As if the phrase, often repeated by the evangelists in the Passion, resounds: “In order that the scripture might be fulfilled” (Jn 19:28). At the end of the sonata we hear triplets again, a sign of total exhaustion after having reached Calvary.
The tenth sonata in the key of G minor with the scordatura G, D1, A1 and D2 concludes the sorrowful mysteries and deals with the Crucifixion of Jesus. The sonata begins with a vibrant chord followed by a staccato melody suggesting the nailing of Jesus to the cross and his cries of pain. The final chord of this part is marked with “piano” which might lead the listener from thoughts on suffering to those on the salvation of the human being. It is as if the melody of the aria that follows depicts the panorama and the questions posed by it, while the major chord at the end of the passage brings a ray of light and hope. The music offers a thought on the entrusting of the Mother of God to the disciple and on the entrusting of the disciple to the Mother of God. A certain decisiveness of this part underlines the courage of the people standing around the cross, Mary, John, Mary Magdalene and others. The end of the sonata, resembling a dance in ecstasy, sets one free from the grip of pain and suffering. The wild violin passages recall the fact that when Jesus died, “the veil of the sanctuary was torn in two from top to bottom. The earth quaked, rocks were split, tombs were opened, and the bodies of many saints who had fallen asleep were raised” (Mt 27:51-52). It is a symbol of the fact that death was conquered by death and that the last abyss between God and man was destroyed. We are free!
The third group of five mysteries of the rosary is known as the Glorious Mysteries, dealing with the triumph of Jesus, the descent of the Holy Spirit and the glorification of the Blessed Virgin Mary.
The eleventh sonata in the key of G major with the extraordinary scordatura G, G1, D1 and D2, requiring the crossing of two middle strings, deals with the Resurrection of Jesus. The scordatura makes it possible to play very simply in octaves, a technique that is also used in the middle part of the sonata. The sonata is a passacaglia on the theme of the hymn “Surrexit Christus hodiж” which is of Polish origin and has appeared in numerous versions, especially in German speaking areas, since 1561. The melody is repeated in the bass five times and the violin gradually creates the canon counterpoint over the melody. A sixth time, the strain is reprised in octaves by the violin and the counterpoint prevails over the bass. Subsequently, the melody and the counterpoint alternate and in the end its repetition appears in unison in three octaves. Before this middle passage, there is an introduction using various unusual inversions, which represent the unique miracle of the Resurrection. The conclusion of the sonata suggests admiration and pious contemplation of this mystery: “He is not here, for he has been raised just as he said. Come and see the place where he lay” (Mt 28:6).
The following sonata, the twelfth, composed in the key of C major with the scordatura C1, E1, G1 and C2, reflects on the Ascension of the Lord. The introduction, imitating fanfares of trumpets in the violin part, evokes this joyful event. The Tubicinium Aria follows, as a solemn passage with motifs consisting of a natural series of harmonic tones, which again imitate trumpets, whereas bass part sounds like the beat of the timpani. Accompanied by these solemn tones, Christ ascends into heaven. The subsequent allemande continues the reflection on the Ascension of Jesus, while the courante with double is a joyful dance which might illustrate the words of the liturgy: “The angels gazed in wonder. Mediator between God and man, judge of the world and Lord of hosts, he ascended, not to distance himself from our lowly state” (Preface of Ascension of the Lord I).
The key of the thirteenth sonata is D minor with the scordatura A, E1, C sharp2 and E2 and it deals with the Descent of the Holy Spirit. The initial piece is of a mysterious and, at the same time, solemn nature. The beginning, in a fine colour of tones, is alternated with forte and fortissimo, in a cascade of triplets and trills. This passage recalls the sound which came from heaven when the Holy Spirit descended upon the apostles gathered in the cenacle, according to the words of the Bible: “And suddenly there came from the sky a noise like a strong driving wind, and it filled the entire house in which they were. And they were all filled with the Holy Spirit” (Acts 2:2.4). A noble gavotte follows, pointing out the fact that, at the same time, this event is full of mystery. The gigue similarly comes with fire. The sonata is concluded with the saraband, which is a baroque way of expressing the strong penetration of the Holy Spirit.
The fourteenth sonata, composed in D major, narrates the Assumption of Our Lady and uses the scordatura A, E1, A1 and D2. The sonata starts with features we could notice already in the first, sixth and ninth sonatas. The subsequent piece of music is an aria in the form of
a passacaglia. At the same time, it is an exhaustive and virtuoso glorification of the Blessed Virgin Mary. The melody of the hymn “Seele, dein Heiland ist frei von den Banden” (Soul, your Saviour is free of the bonds) can be heard in the middle of this passage. At the end of the passacaglia, the violin enters after only two bars of the basso ostinato and remains in a two-beat delay. It is considered to be an expression of Mary’s departure from this world: “We celebrate the feast day in honour of the Virgin Mary, at whose Assumption the Angels rejoice” (Entrance Antiphon, Mass during the Day, Solemnity of the Assumption of the Blessed Virgin Mary).
The fifteenth sonata presents the Crowning of Our Lady in Heaven. It is written in the key of C major and uses the scordatura G, C1, G1 and D2. The beginning of the sonata is solemn and is followed by the fugato, in a nearly orchestral notation. The composition continues with a sensitive aria, which is a point of departure for a series of three very diverse variations. The first of them is solemn and virtuoso, the second humble and soft, and the third one brilliant. The canzona follows and is composed in strict counterpoint based on the theme of the aria. The sonata ends with the saraband. This sonata concludes the whole cycle just as the mystery of the Crowning of Our Lady completes the prayer of the rosary and points to the final destiny of the human person, who is the crown of Creation.
Far from being a simple appendix, the passacaglia (passagalia is written in the manuscript) for solo violin called “Guardian Angel” is added to the series of fifteen sonatas composed on the motifs of the mysteries of the rosary. It is possible that the members of the Rosary Brotherhood recited the prayer in honour of the Guardian Angel after having said the rosary. This work is written in the key of G minor and has normal violin tuning, meaning without the scordatura. The theme of the passacaglia occurs sixty-five times in the composition. Its constant and unchanging presence may have a symbolic meaning, namely, regardless of how the word changes, the messenger of God, always at our disposal, is ready to help us, not only in the moments of our varied and constantly changing life situations, but also in the fundamental direction of our existence, that is, on the journey to God. Precisely therefore, the Guardian Angel, who is depicted in the copper engraving preceding the composition, holds the child entrusted to him with one hand, while with the other hand he points toward heaven. “For God commands the angels to guard you in all your ways” (Ps 91:11).
The preceding commentary does not constitute an exhaustive analysis of this unique series of compositions, but it should represent just a short introduction to a continuously new meditation on the mysteries of God’s action in history, both on a grand scale and on our personal level. Let us catch Biber’s roses persistently, again and again, being thrown to us by the angels, as depicted on the cover of this CD, through the magnificent music interpreted by Lucie Sedlбkovб Hulovб and Jaroslav Tuma...
CD1
01. Sonata No. 1 in D Minor: Praeludium
02. Sonata No. 1 in D Minor: Variatio
03. Sonata No. 1 in D Minor: Finale
04. Sonata No. 2 in A Major: Sonata
05. Sonata No. 2 in A Major: Allaman
06. Sonata No. 2 in A Major: Presto
07. Sonata No. 3 in B Minor: Sonata
08. Sonata No. 3 in B Minor: Courente
09. Sonata No. 3 in B Minor: Adagio
10. Sonata No. 4 in D Minor: Ciacona
11. Sonata No. 5 in A Major: Praeludium
12. Sonata No. 5 in A Major: Allaman
13. Sonata No. 5 in A Major: Guigue
14. Sonata No. 5 in A Major: Saraban
15. Sonata No. 6 in C Minor: Lamento
16. Sonata No. 6 in C Minor: —
17. Sonata No. 6 in C Minor: Adagio
18. Sonata No. 7 in F Major: Allamanda
19. Sonata No. 7 in F Major: Sarabanda
20. Sonata No. 8 in B-Flat Major: Sonata
21. Sonata No. 8 in B-Flat Major: Guigue
22. Sonata No. 9 in A Minor: Sonata
23. Sonata No. 9 in A Minor: Courente
24. Sonata No. 9 in A Minor: Finale
25. Sonata No. 10 in G Minor: Praeludium
26. Sonata No. 10 in G Minor: Aria
CD2
01. Sonata No. 11 in G Major: Sonata
02. Sonata No. 11 in G Major: Surrexit Christus hodie
03. Sonata No. 11 in G Major: Adagio
04. Sonata No. 12 in C Major: Intrada
05. Sonata No. 12 in C Major: Aria Tubicinum
06. Sonata No. 12 in C Major: Allamanda
07. Sonata No. 12 in C Major: Courente
08. Sonata No. 13 in D Minor: Sonata
09. Sonata No. 13 in D Minor: Gavott
10. Sonata No. 13 in D Minor: Guigue
11. Sonata No. 13 in D Minor: Sarabanda
12. Sonata No. 14 in D Major: —
13. Sonata No. 14 in D Major: Aria
14. Sonata No. 15 in C Major: Sonata
15. Sonata No. 15 in C Major: Aria
16. Sonata No. 15 in C Major: Canzon
17. Sonata No. 15 in C Major: Sarabanda
18. Passagalia in G Minor (For Solo Violin)
The Rosary Sonatas by Heinrich Ignaz Franz Biber are considered an absolutely unique phenomenon in music history. This fact is shown by the following combination – the music itself, its dedication to the fifteen mysteries of the rosary and the technical requirements of both the violin itself and the interpreting violinist.
The work was written about 1676 in Salzburg and was dedicated to the Salzburg Duke
-Archbishop Maximilian Gandolph Count von Kuenburg who was at the head of the Archdiocesan See, from 1668 to 1687. The composition faded into oblivion later and was rediscovered only in 1905. Since that time, it is regarded not only as a pearl of music hi
Like the date of its composition, the concrete assignment of the work and its connection with the mysteries of the rosary are veiled in a certain amount of uncertainty, in all its dimensions, as if this piece of music would rise from the fog and would only gradually gain clear contours. In that sense, the small painting of the little angels throwing roses, as depicted on the CD cover, is pertinent as it is a detail of the altarpiece located in the church in Hornн Police (Czech Republic), representing the Visitation of Our Lady and painted by Franz Hagen, about whom little is known. In his composition, Biber simply threw the roses of the individual sonatas and their parts to us, and what we succeed in catching is up to us. On the one hand, one can consider the certain mysteriousness of the whole project while, on the other hand, the listener may look forward never to be upset with having listened to the CD too many times because it is possible to find something new again and again in this work, to catch the rose thrown by the angel in just another way.
The connection of Biber’s sonatas with the prayer of the rosary is to be derived both from the title “Mystery Sonatas” and from the copper engravings accompanying the original edition of the sonatas and depicting the fifteen mysteries of the rosary. The sixteenth copper engraving, which precedes the passacaglia for solo violin, represents the Guardian Angel. Moreover, these copper engravings were found in another context. A leaflet of the Brotherhood of the Rosary was discovered in the Archive of the Archdiocese of Salzburg, in 2008; the copper engravings are represented in the same manner as in the leaflet. Therefore, one can relate the composition of the Rosary Sonatas to this Brotherhood, founded in 1676, as well as to the increase in pilgrimages to the nearby pilgrim destination Maria Plain, where the above-mentioned Salzburg Archbishop consecrated a new church in 1674.
Based on this information, the listener might expect that the Rosary Sonatas would be a sort of programmatic music in which the mysteries are to be heard. Nevertheless, the sonatas seem to emerge from the fog, also in this dimension, since they attain clear contours only gradually. Of course, it is possible that the listener will perceive the whizz of the angel’s wings in the quick passages in the first sonata, the beating of a whip in the repeated saraband figures in the seventh sonata, the blows of the hammer in staccato rhythms in the tenth sonata and the tearing of the veil in the sanctuary in Jerusalem in its fast sections. In the eleventh sonata, the echo of the Easter song allows us no suspicion that this piece of music deals with the Resurrection of Jesus. In the following sonata, its solemn key, the rhythm and the rising melody may simply evoke the Ascension of Jesus into heaven. However, there are a number of parts which clearly can be attributed to any of the mysteries of the rosary yet the message of the tones for that particular mystery seems to be hidden to us. The composition may sometimes be explicitly confusing. For instance, I have been convinced for a long time that the scordatura, with the crossed middle strings, should clearly recall the cross and the Crucifixion of Jesus and yet it is used in the following sonata related to the Resurrection of Jesus.
Despite all this, we can try to find a certain illustration of the content of the mysteries of the rosary in the individual sonatas.
The first five sonatas reflect on the five Joyful Mysteries. These mysteries have to do with the beginning of human salvation in Jesus Christ and with the events that occurred immediately before the birth of Jesus as well as episodes from his childhood.
The first sonata, regarding the Annunciation, is composed in the key of D minor and has normal violin tuning. At the beginning we may perceive the arrival of the Angel and his words: “Do not be afraid, Mary, for you have found favour with God” (Lk 1:30). A quieter passage follows, evoking Mary’s humility. Afterwards we hear variations developed above the basso ostinato, which are full of both peace and disquiet. The conclusion of the sonata may be able to image both the Angel as he departs, and the words of the Holy Scripture related to the coming Messiah: “Of his kingdom there will be no end” (Lk 1:33).
The second sonata regards the mystery of the Visitation. The violin is tuned in fifths and octaves on the tones A, E1, A1 and E2. The key of A major creates for us an intimate and peaceful atmosphere, characteristic of the meeting of two women who communicate the joyful news to each another that they will become mothers. The allemande and the final presto express the delight radiating from the Magnificat: “Behold, from now on all ages will call me blessed. The Mighty One has done great things for me” (Lk 1:48-49).
The Birth of Our Lord and the Adoration of the Shepherds are the topics of the third sonata in B minor. The violin is tuned in the scordatura B, F sharp1, B1 and D2. The sonata starts with a meditative passage followed by the solemn proclamation of the heavenly choirs: “Glory to God in the highest and on earth peace to those on whom his favour rests” (Lk 2:14). A short presto follows, probably representing the shepherds hurrying to the crib. Afterwards the music returns to its original tempo. The dancing courante melody is sensitively and gradually embellished and may represent the adoration of the shepherds and their gifts brought to the new-born Child. The adagio brings the sonata to its end awakening a peaceful, humble but yet solemn air of adoration.
The Presentation in the Temple is depicted in the fourth sonata in the key of D minor with the scordatura A, D1, A1 and D2. The sonata has only one part in the musical form of a chaconne in which the bass motif is repeated thirteen times. Over the bass motif the composer arranged diverse melodic and virtuoso variations for violin, as if the music represents Simeon holding the small Jesus in his arms and, at the same time, showing him to us, again and again, as the one who has become the fulfilment of his hopes: “Now, Master, you may let your servant go in peace, according to your word, for my eyes have seen your salvation. A light for revelation to the Gentiles, and glory for your people Israel” (Lk 2:29-30.32).
The fifth sonata in the key of A major and with the scordatura A, E1, A1 and C sharp2 is dedicated to the mystery of the rosary contemplating the Twelve-year old Jesus in the Temple. At the beginning of the sonata we hear a short, rhythmically precise motif reminding us of Jesus’ words pronounced in the Temple, which were clear and astonished the people present. The subsequent allemande may depict the strength of Jesus’ words and its perky feature may recall the ease of his argumentation. The gigue that follows evokes the same impression in the listener’s mind. The saraband leads us to adoration of this young man, whom we identify as the Son of God. The fast figures double concluding the sonata confirm our persuasion. Although the concern for the lost Jesus on his return from Jerusalem and a certain bewilderment after being found are usually a part of this rosary mystery, it seems that this motif is not to be found in the sonata. But, who knows.
The second set of five sonatas is dedicated to the Sorrowful Mysteries, that is, to the passion of Jesus.
The sixth sonata in the key of G minor with the scordatura A flat, E flat1, G1 and D2 recalls the Agony of Jesus in the Garden of Gethsemane. It is an incredibly expressive lamentation manifesting the suffering, the cry of the soul in the face of the dreaded agony, fear and trembling, but also a harmony evidencing the firm union with God. It is perhaps the most beautiful and the most impressive sonata. In the middle of the sonata there is a saraband bringing an air of consolation through its quiet rhythm. In the composition, in a minor key, there is sometimes a flash of a major chord or a short passage evoking the consoling acceptance of God’s will: “Yet, not my will but yours be done” (Lk 22:42).
The seventh sonata in the key F major with the scordatura C1, F1, A1 and C2 calls to mind the Scourging of Jesus. There are not very many tragic tones in this sonata. The atmosphere of the work points to the fact that Jesus has accepted his passion as a mission given to him by the Father and, with this assurance, he is capable of rising above the physical suffering. We may discern the scourging in the saraband, in the second half where, in a certain fashion, an abrupt and discontinuous rhythm is scored for the violin part. Nevertheless, we do not encounter hopelessness in this piece, if only occasionally in the next to last variation, to elicit the listener’s peaceful compassion.
B flat major is the key of the eighth sonata meditating on Jesus Being Crowned with Thorns. The scordatura of this sonata is composed of tones D1, F1, B flat1 and D2. The adagio at the beginning shows the dignity of Jesus being humiliated. The following presto, with its roughness, represents the actual crowning with thorns, in all the brutality of that act. Afterwards, the composition returns to a compassionate tone. The gigue with both doubles is regarded as a certain coronation hymn responding to Pilate’s question: “Then you are a king?” with the words: “You say I am a king” (Jn 18:37).
Christ Carrying the Cross to Golgotha represents the subject of the ninth sonata in the key of A minor and with the scordatura C1, E1, A1 and E2. The beginning of the sonata, with its slowly ascending and marching melody over the bass, evokes the ascent to Golgotha. The calm music is interrupted with wild passages, which probably depict the shouting, hateful crowd. At the end of the first part we may hear triplets which could symbolise Jesus’ exhaustion. The courante starts in a conciliatory manner and is probably a reflection on Simon of Cyrene helping Jesus to carry the cross. However, the quick changes depict Jesus’ exhausting climb up the hill. In this sonata some motifs appear that are heard in the first one, as if the composer wanted to emphasize that what was announced to Mary was fulfilled through the walk up to Golgotha. As if the phrase, often repeated by the evangelists in the Passion, resounds: “In order that the scripture might be fulfilled” (Jn 19:28). At the end of the sonata we hear triplets again, a sign of total exhaustion after having reached Calvary.
The tenth sonata in the key of G minor with the scordatura G, D1, A1 and D2 concludes the sorrowful mysteries and deals with the Crucifixion of Jesus. The sonata begins with a vibrant chord followed by a staccato melody suggesting the nailing of Jesus to the cross and his cries of pain. The final chord of this part is marked with “piano” which might lead the listener from thoughts on suffering to those on the salvation of the human being. It is as if the melody of the aria that follows depicts the panorama and the questions posed by it, while the major chord at the end of the passage brings a ray of light and hope. The music offers a thought on the entrusting of the Mother of God to the disciple and on the entrusting of the disciple to the Mother of God. A certain decisiveness of this part underlines the courage of the people standing around the cross, Mary, John, Mary Magdalene and others. The end of the sonata, resembling a dance in ecstasy, sets one free from the grip of pain and suffering. The wild violin passages recall the fact that when Jesus died, “the veil of the sanctuary was torn in two from top to bottom. The earth quaked, rocks were split, tombs were opened, and the bodies of many saints who had fallen asleep were raised” (Mt 27:51-52). It is a symbol of the fact that death was conquered by death and that the last abyss between God and man was destroyed. We are free!
The third group of five mysteries of the rosary is known as the Glorious Mysteries, dealing with the triumph of Jesus, the descent of the Holy Spirit and the glorification of the Blessed Virgin Mary.
The eleventh sonata in the key of G major with the extraordinary scordatura G, G1, D1 and D2, requiring the crossing of two middle strings, deals with the Resurrection of Jesus. The scordatura makes it possible to play very simply in octaves, a technique that is also used in the middle part of the sonata. The sonata is a passacaglia on the theme of the hymn “Surrexit Christus hodiж” which is of Polish origin and has appeared in numerous versions, especially in German speaking areas, since 1561. The melody is repeated in the bass five times and the violin gradually creates the canon counterpoint over the melody. A sixth time, the strain is reprised in octaves by the violin and the counterpoint prevails over the bass. Subsequently, the melody and the counterpoint alternate and in the end its repetition appears in unison in three octaves. Before this middle passage, there is an introduction using various unusual inversions, which represent the unique miracle of the Resurrection. The conclusion of the sonata suggests admiration and pious contemplation of this mystery: “He is not here, for he has been raised just as he said. Come and see the place where he lay” (Mt 28:6).
The following sonata, the twelfth, composed in the key of C major with the scordatura C1, E1, G1 and C2, reflects on the Ascension of the Lord. The introduction, imitating fanfares of trumpets in the violin part, evokes this joyful event. The Tubicinium Aria follows, as a solemn passage with motifs consisting of a natural series of harmonic tones, which again imitate trumpets, whereas bass part sounds like the beat of the timpani. Accompanied by these solemn tones, Christ ascends into heaven. The subsequent allemande continues the reflection on the Ascension of Jesus, while the courante with double is a joyful dance which might illustrate the words of the liturgy: “The angels gazed in wonder. Mediator between God and man, judge of the world and Lord of hosts, he ascended, not to distance himself from our lowly state” (Preface of Ascension of the Lord I).
The key of the thirteenth sonata is D minor with the scordatura A, E1, C sharp2 and E2 and it deals with the Descent of the Holy Spirit. The initial piece is of a mysterious and, at the same time, solemn nature. The beginning, in a fine colour of tones, is alternated with forte and fortissimo, in a cascade of triplets and trills. This passage recalls the sound which came from heaven when the Holy Spirit descended upon the apostles gathered in the cenacle, according to the words of the Bible: “And suddenly there came from the sky a noise like a strong driving wind, and it filled the entire house in which they were. And they were all filled with the Holy Spirit” (Acts 2:2.4). A noble gavotte follows, pointing out the fact that, at the same time, this event is full of mystery. The gigue similarly comes with fire. The sonata is concluded with the saraband, which is a baroque way of expressing the strong penetration of the Holy Spirit.
The fourteenth sonata, composed in D major, narrates the Assumption of Our Lady and uses the scordatura A, E1, A1 and D2. The sonata starts with features we could notice already in the first, sixth and ninth sonatas. The subsequent piece of music is an aria in the form of
a passacaglia. At the same time, it is an exhaustive and virtuoso glorification of the Blessed Virgin Mary. The melody of the hymn “Seele, dein Heiland ist frei von den Banden” (Soul, your Saviour is free of the bonds) can be heard in the middle of this passage. At the end of the passacaglia, the violin enters after only two bars of the basso ostinato and remains in a two-beat delay. It is considered to be an expression of Mary’s departure from this world: “We celebrate the feast day in honour of the Virgin Mary, at whose Assumption the Angels rejoice” (Entrance Antiphon, Mass during the Day, Solemnity of the Assumption of the Blessed Virgin Mary).
The fifteenth sonata presents the Crowning of Our Lady in Heaven. It is written in the key of C major and uses the scordatura G, C1, G1 and D2. The beginning of the sonata is solemn and is followed by the fugato, in a nearly orchestral notation. The composition continues with a sensitive aria, which is a point of departure for a series of three very diverse variations. The first of them is solemn and virtuoso, the second humble and soft, and the third one brilliant. The canzona follows and is composed in strict counterpoint based on the theme of the aria. The sonata ends with the saraband. This sonata concludes the whole cycle just as the mystery of the Crowning of Our Lady completes the prayer of the rosary and points to the final destiny of the human person, who is the crown of Creation.
Far from being a simple appendix, the passacaglia (passagalia is written in the manuscript) for solo violin called “Guardian Angel” is added to the series of fifteen sonatas composed on the motifs of the mysteries of the rosary. It is possible that the members of the Rosary Brotherhood recited the prayer in honour of the Guardian Angel after having said the rosary. This work is written in the key of G minor and has normal violin tuning, meaning without the scordatura. The theme of the passacaglia occurs sixty-five times in the composition. Its constant and unchanging presence may have a symbolic meaning, namely, regardless of how the word changes, the messenger of God, always at our disposal, is ready to help us, not only in the moments of our varied and constantly changing life situations, but also in the fundamental direction of our existence, that is, on the journey to God. Precisely therefore, the Guardian Angel, who is depicted in the copper engraving preceding the composition, holds the child entrusted to him with one hand, while with the other hand he points toward heaven. “For God commands the angels to guard you in all your ways” (Ps 91:11).
The preceding commentary does not constitute an exhaustive analysis of this unique series of compositions, but it should represent just a short introduction to a continuously new meditation on the mysteries of God’s action in history, both on a grand scale and on our personal level. Let us catch Biber’s roses persistently, again and again, being thrown to us by the angels, as depicted on the cover of this CD, through the magnificent music interpreted by Lucie Sedlбkovб Hulovб and Jaroslav Tuma...
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