Heinrich Ignaz Biber (1644-1704)
1. Sonata a 6 - Biber 5:39
2. Laetatus sum a 7 - Biber 8:19
Sonata a 6 "Die pauern kirchfartt genand" - Biber 4:58
3. Adagio. Presto 1:07
4. die pauern Kirchfartt 1:05
5. Adagio, Aria 1 1:22
6. Aria 2 1:20
7. Sonata a 3 - ? 4:13
8. Sonata a 3 - "AB" 4:50
9. In sole posuisti a 2 - ? 6:37
10. Sonata a 3 - "AB" 6:17
Battalia a 10 - Biber 9:03
11. Battalia 1:43
12. Allegro - Die liederliche Gsellschaft von allerley humor, Presto 1:06
13. Mars [attaca] 1:15
14. Presto 1:15
15. Aria 1:43
16. Die Schlacht 0:45
17. Lamento der Verwundten Musquertir[er] 1:19
Balletti Lamentabili a 4 - Biber 8:39
18. Sonata 1:05
19. Allamanda 1:23
20. Sarabanda 2:18
21. Gavotte 0:38
22. Gigue 1:46
23. Lamento 1:23
24. Sonata a 4 - "H.B." 4:00
Serenada a 5 - Biber 9:26
25. Serenada 1:17
26. Allamanda 1:32
27. Aria 1:07
28. Ciacona 2:25
29. Gavotte 1:40
30. Retirada 1:18
Stereo digital studio recording.
Musica Florea
Marek Štryncl conductor
Magdalena Kožená mezzosoprano (9), Michael Pospíšil bass (2,28), Aleš Procházka (2) bass
clarino: Jaroslav Rouek (1,7), trombone: Pavel Čermák(7,10), violins: Dagmar Valentová-Prokešová (1-8,10-30), Jiřina Doubravská (1,3-6,9-12,14-17,24-30), Simona Pešková (2-6,8,11,12,14-23),
violas: Lýdie Cillerová (1-6,11,12,14-30), Martin Doubravský (11,12,14-17), violas da gamba: Petr Wagner (1-6,8,11,12,14-17), Ingeborg Žádná (11,12,14-17), cellos: Marek Štryncl (1,11-30), Pavel Řezáč (2-7,9-12,14-17,24,28), double bass: Jan Doskočil (1-6,11,12,14-17,24,25,30), theorbi: Přemysl Vacek (1,3-10,24), Jan Krejča (1,2,10), harpsichord: Iva Vedralová (1,11,12,14-27,29,30), Marek Štryncl (3-7), positive organ: Marek Štryncl (2,8-10)
When in 1670 Bishop Lichtenstein was looking for a new musician for the vacant position of a chamberlain, in a letter to Schmelzer he said that, "Biber, who fled, not only had played the violin, the double bass and the viola da gamba, but he was also capable of composing." An interesting comparison offers itself of Biber's fluent style and the style of his colleague at Kroměříž the trumpeter Pavel Vejvanovský. They may have studied together, appreciated each other for the excellent play of each's particular instrument and inspired each other in the stylisation of their parts. They kept in touch all through their lives and it is due to these contacts that Biber's compositions have been preserved at Kroměříž. Their compositions, which on hearing are often very similar (and for this very reason, modern editions frequently ascribe them to Vejvanovski), mostly differ in the musical grammar of the notation, and in the elaboration of the inner voices and the bass. Technically, the solo violin parts of Biber's compositions belong to the most demanding ever written for this instrument, and the parts that were written for Vejvanovský are "hardly feasible" for the natural trumpet.
(Studio Matouš 1996)
| Property | Value |
| original instruments | Yes |
| format | CD audio |
