Heinrich Ignaz Franz Biber

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The only surviving portrait; it comes from the Sonatae violino solo 1681 [C. 138-145]. The inscription reads: "Engraved by Paul Seel". The inscription reads: "Heinrich IF Biber Vice-Kapellmeister of the most exalted and most venerable Prince and Archbishop of Salzburg, 36 years old"

Heinrich Ignaz Franz Biber , from 1690 Biber von Bibern , (baptized August 12, 1644 in Wartenberg , Bohemia as Hennericus Pieber ; † May 3, 1704 in Salzburg ) was a Bohemian composer and famous violinist of the Baroque period .

Life

Heinrich Ignaz Franz Biber was in a Jesuit high school in Silesian Opava his musical education. Here he had contact with the trumpeter and later conductor of the Archbishop in Kremsier Pavel Josef Vejvanovský . Presumably he took further lessons with Johann Heinrich Schmelzer or the court conductor Antonio Bertali in Vienna, but this is not considered certain. His first known composition dates from 1663, a Salve Regina for soprano, violin, viol and organ [C. 49].

He got his first job in 1668 as a musician in the court orchestra and valet of the Olomouc bishop Karl II of Liechtenstein-Kastelkorn . He did not return from a trip to Innsbruck without permission. On this trip he came into contact with the violin maker Jakobus Stainer, famous at the time , who later mentioned him in a letter as "the excellent virtuoso Mr. Biber".

From 1670 he entered the service of Archbishop Max Gandolf von Kuenburg in Salzburg. In 1678 he received the position of Vice Kapellmeister and after the death of his predecessor Andreas Hofer around 1684 that of Kapellmeister. He was considered a brilliant violin virtuoso; Emperor Leopold I awarded him a title of nobility ( Truchsess ) for his compositional work in 1690 . From then on he was allowed to call himself “beaver of beavers”, which meant a considerable social advancement. His monthly income at that time was 60 guilders, with free accommodation, wine, bread and firewood.

In 1715 his son Carl Heinrich Biber (1681–1749) followed his father to the post of conductor.

Create

In many of its early work used the beaver Scordatura to achieve (retuning of individual strings) to the other sound effects, and to difficult grips in the lower positions to allow and to empty strings.

Biber wrote masses , two requiums , numerous violin sonatas and table music . His most monumental work was created in 1682 on the occasion of the 1100th anniversary of the Archbishopric of Salzburg, a mass with 53 voices, the Missa Salisburgensis and the hymn Plaudite tympana . This mass was previously ascribed to Orazio Benevoli . In the 1970s, it was assumed that Biber's predecessor, Andreas Hofer, might also be the creator of the work. Biber has been considered the composer since 1975. Most of his spiritual works are virtually unknown. Only Chi la dura la vince remains from his operas .

Few violinists and composers before his time found double stops, three and four chords as often as with Biber. At that time he seldom mastered the violin up to the seventh position.

Works

(Contains all works, insofar as music or text are preserved, works of ambiguous attribution only insofar as Chafe, Sehnal or Nettl consider them to be such beavers.)

[C. XX] refers to Chafe's list of works (see bibliography).

vocal

measure up

  • Mass in Albis
    Comes from Heinrich Brückner or Beaver's son Heinrich (1681–1749)
  • Missa Sancti Alexii, in contrapuncto florido a quattuor [C. not listed, cf. Hintermaier S. IX]
  • Missa Alleluia in C major [C. 1] (1690-1698):
    two choruses to 4 voices (SATB), soloist, 2 violins, violas 3, 6 trumpets, kettle-drums, 2 "cornetti", ie prong , 3 trombones, Theorbe, organ, Violone
  • Mass ex B in B flat major [C. 4]:
    Choir SSATBB
  • Missa Bruxellensis in C major [C. App. 100] (around 1700)
    double satb, 4 trumpets, drums, 2 "cornetti", ie prong , 3 trumpets, 2 violins, violas 3, continuo
  • Missa Catholica in C major [C. 2] ((after 1680)):
    SATB choir and soloists, 2 violins, 2 violas, 2 clarini , organ, violone
  • Missa Christi Resurgentis in C major [C. 3] ((1674)):
    two choirs with 4 SATB voices, soloists, 2 violins, 2 violas, 2 clarini , 2 "cornetti", ie prong , 3 trombones, organ, violone
  • Missa à 4 voci in Contrapuncto
    Comes from Beaver's son Heinrich (1681–1749).
  • Missa S. Henrici in C major [C. 6] (1696):
    Choir and soloists SSATB, 2 violins, 3 violas, 2 clarini , 3 trumpets, kettledrum ad libitum , 3 trombones, organ, violone
    Composed when Biber's daughter Maria Anna Magdalena entered the Benedictine women's monastery in Nonnberg as a nun ; Performed July 11, 1696.
  • Missa quadragesimalis in D minor [C. 5] (probably before 1670 see Hintermaier p. IX):
    Choir SATB (instruments colla parte )
    A new edition published as Missa in Contrapuncto .
  • Requiem à 15 in A major [C. 7] (after 1690):
    Requiem, Kyrie, Dies irae, Domine Jesu Christe, Sanctus, Agnus Dei, Lux aeterna
    choir and soloists SSATBB, 2 violets , 2 "Trombe Basse" in A, 2 oboes, 3 trombones, bassoon, organ .
    Contrary to earlier assumptions, the work cannot have been composed for the funeral ceremony of Prince-Bishop Max Gandolf von Kuenburg , who died in 1687, Biber's long-term employer, due to the time it was written.
  • Requiem ex F con terza min (ore) in F minor [C. 8] (after 1692):
    Requiem, Kyrie, Dies irae, Domine Jesu Christe, Sanctus, Agnus Dei, Lux aeterna
    choir and soloists SSATB, 2 violins, 3 violas, 3 trombones ad libitum, organ
  • Missa Salisburgensis in C major [C. App. 101] (1682)
    two 8-part double choirs SSAATTBB, 16 soloists, 2 string ensembles (each with 2 violins and 4 violas), 2 cornetti, 4 trombones, 2 oboes, 4 recorders, 2 clarini and 2 trumpet ensembles (each with 4 trumpets and Timpani), 2 organ parts as continuo, basso continuo
    Formerlyattributed to Orazio Benevoli . Festive mass for the 1100th anniversary of the Archbishopric Salzburg.

Vespers

  • Vesperae Longiores ac Breviores Unacùm Litaniis Lauretanis (JB Mayr Salzburg 1693) - choir and soloists (SATB), 2 violins, 2 violas, 3 trombones ad libitum, organ:
    • Psalmi Longiores:
      Dixit Dominus in D [C. 13] - Confitebor in B minor [C. 14] - Beatus Vir in G major [C. 15] - Laudate Pueri in D major [C. 16] - Laudate Dominum in A major [C. 17] - Magnificat in D major [C. 18]
    • Psalmi de BM Virgine:
      Dixit Dominus in G minor [C. 19] - Laudate Pueri in B flat major [C. 20] - Laetatus Sum in F major [C. 21] - Nisi Dominus in D minor [C. 22] - Lauda Jerusalem in B flat major [C. 23] - Magnificat in G minor [C. 24]
    • Psalmi Breviores:
      Dixit Dominus in C major [C. 25] - Confitebor in A minor [C. 26] - Beatus Vir in E minor [C. 27] - Laudate Pueri in C major [C. 28] - Laudate Dominum in G major [C. 29] - Laudate Pueri in A minor [C. 30] - Laetatus sum in E minor [C. 31] - Nisi Dominus in C major [C. 32] - Lauda Jerusalem in G major [C. 33] - Magnificat in C major [C. 34]
    • Psalmi per Annum Necessarii:
      Credidi in D minor [C. 35] - In Convertendo in A minor [C. 36] - Domine Probasti me in F major [C. 37] - De Profundis in C minor [C. 38] - Memento in G minor [C. 39] - Beati Omnes in B flat major [C. 40] - In Exitu Israel in D minor [C. 41] - Litaniae Lauretanae in E minor [C. 42]
  • Vesperae à 32 in C major 1674 with the title of the autograph: AMDGBMV Assumptae H. / Vesperae à 32: / 8 Voc. In concert. /8th. in capella / 5th viol. / 2 cornett. / 3rd Trombon .: / 4th Tromb: / Cum Tympano / Et 4: bassi Continui: / Voces in Concerto. 23: / vom / Hainrich J. Franz biber / A o .1674. :
    • Dixit Dominus [C. 11] and Magnificat [C. 12]
  • Laetatus Sum à 7 in A major [C. 9] 1676
    for 2 basses solo, violin solo, 3 violas, organ, violone
  • Nisi Dominus aedificaverit Domum in G major [C. 10]
    for bass solo, violin solo, organ, violone

Operas

  • Alesandro in Pietra - Dramma per musica [C. App. 20] opera; Text by Francesco Maria Raffaelini (died after 1710); Performance January / February 1689; only received text
  • Chi la dura la vince - Dramma Musicale (German: "He who endures, wins"; also known under the name "Arminio") [C. 51] between December 5, 1690 and mid-1692,
    opera in 3 acts and 42 scenes, text by Francesco Maria Raffaelini (died after 1710)

School dramas

  • Alesandro in Pietra / Dramma per musica [C. App. 20] opera; Text by Francesco Maria Raffaelini; Performance January / February 1689; only received text
  • Alfonsus hujus nominis decimus Hisparniarum rex ... [C. App. 21] Text by Augustin Kendlinger; Performance in 1696 in Salzburg; only received text
  • Boni corvinon dissimilia ... [C. App. 22] Performance in Salzburg in 1696; only received text
  • Fastus confusus seu a Juditha proprio ense fusus Holofernes… [C. App. 24] Performance November 28, 1691 in Salzburg; Text by Vitus Kaltenkrauter; only received text
  • Fastus fumosus famosus ad focum Babilonicum defervescens, see Nabuchodonosor [C. App. 25] Performed in February 1685; Author unknown; only received text
  • Feriis Bacchanaliorum: Nemesis variata seu Fridericus Dux Saxoniae… [C. App. 35] performance 1679; Text author unknown; only received text. Andreas Hofer or Georg Muffat are also possible composers
  • Fidei, ac perfidiae exampla in Pertharito from Unulfo et Garibaldo demonstrata… [C. App. 26] Performance in Salzburg in 1694; Text by Vitus Kaltenkrauter; only received text
  • Honor divinus de respectu humano triumphans, see S. Thomas cancellarius ... [C. App. 27] Performance in Salzburg in 1698; Text by Wolfgang Rinswerger; only received text
  • Infelix parentum amor in Fernando filio… [C. App. 23] Performance in Salzburg in 1697; Text by Wolfgang Rinswerger; only received text
  • Innocentia fidei conjugalis seu Genovefa ... / Innocence of the married couple ... Genovefa ... [C. App. 36] performance 1681; Text author unknown; only received text. Andreas Hofer or Georg Muffat are also possible composers
  • Invidia gloriae umbra in C. Julio Caesare repraesentata… [C. App. 28] Performance in Salzburg in 1697; Text by Wolfgang Rinswerger; only received text
  • Rex catholicus seu S. Hermenegildus rex, et martyr… [C. App. 29] Performance in Salzburg in 1689; Text by Vitus Kaltenkrauter; only received text
  • Rex invitus martyr invictus coronam terrestrem ... [C. App. 30] Performance August 6, 1692 in Salzburg; Text by Vitus Kaltenkrauter; only received text
  • Valerianus Romanorum Imperator, barbarorum ludibrium… [C. App. 32] Performance in Salzburg in August 1684; Text by Otto Aicher; only text and scenario received
  • Virtus pressa, non opressa. Seu Daniel ... [C. App. 33] Performance September 10, 1686 in Salzburg; Text by Otto Aicher; only text and scenario received
  • Virtutis triumphus, sive Ulysses… [C. App. 34] Performed on June 30, 1687 in Salzburg to celebrate the election of Johann Ernst von Thun and Hohenstein as Archbishop; Text by Otto Aicher; only received text

Others

  • Congregamini Omnes Populi à 15 in G major [C. App. 102] 1663
    for choir & soloists SSATBB, 2 violins, 2 violas, 3 trombones, organ
    Attribution doubtful
  • Huc Poenitentes ( Offertory ) in C minor [C. 46] c. 1700
    for choir and soloists (SSATB), 2 violins, 2 violas, 3 trombones ad libitum , 3 organs, bassoon, violone
  • In Festo Trium Regium, Muttetum Natale à 6 in C major [C. 43]
    for 2 sopranos, 2 recorders, 2 oboes and organ
  • Litania de S. Josepho à 20 in D major [C. 44] after 1690
    for 2 choirs (SATB), 8 vocal soloists, 2 violins, 5 violas, 2 trumpets in D, 3 trombones, basso continuo
  • Lux Perpetua in G major [C. 45] 1673
    for 2 four-part choirs (SATB), 8 vocal soloists, 2 violins, 2 violas, 3 trombones, organ, violone
  • Ne Cedite ( Offertory ) in A minor [C. 47] after 1690
    for choir and soloists (SSATB), 2 violins, 2 violas, 3 trombones, organ per ribs. , Organ, organ or theorbo , organ or viola
  • Quo abiit dilectus tuus - In Festo 7 dolorum (Offertorium) in E minor [C. 48]
    for choir and soloists (SATB), 4 violas, 4 organs, organ     per Rippieno
  • Salve Regina `a 2 in E minor [C. 49] 1663, Biber's oldest (known) work
    for soprano solo (not extant), viola da gamba solo, organ
  • Stabat Mater in E minor [C. 50]
    for choir [SATB] and basso continuo
  • Tratenimento musicale del'ossequio di Salisburgi [C. App. 31] February 8, 1699; Ceremony in 3 parts in honor of the visit of Wilhelmina Amalia , wife of the later Emperor Joseph I ; Text author unknown; only received text

Instrumental with name

"Sonata violino solo representativa"

also Representatio avium , ie “representation of birds” in A major [C. 146] 1669
(Allegro - Nachtigal - CuCu - Fresch - Adagio - The Henn - The Han - Presto - Adagio - The Quail - The Katz - Musquetir Mars - Allemande)
The animal imitations come from Athanasius Kircher's Musurgia universalis . The "Musquetir Mars", ie "March of the Musketeers " is slightly changed under the title "Der Mars" part 4 of Beaver's Battalia [C. 61].

With considerable arguments, Brewer takes the view that the composer is Johann Heinrich Schmelzer . The author of the booklet for the CD Heinrich Ignaz Franz von Biber / Imitatio des Ricercar Consort agrees without any reasons.

The 16 "Mystery Sonatas" ("Rosary Sonatas")

Made between 1678 and 1687; the manuscript is in the Bavarian State Library.

With the exception of the first and last sonatas, all sonatas can be played on a chorded violin ; the individual tunings are shown in the following illustration.

Sheet music is temporarily disabled.

In the 11th sonata, the two middle strings in the pegbox and between the bridge and tailpiece are swapped so that a cross becomes visible.

Violin arranged for Beaver's 11th Rosary Sonata

The sonatas are divided into three groups of five: 1. The joyful, 2. The painful, 3. The glorious rosary; Then there is Sonata XVI, which thematically does not belong to the Rosary.
In detail (sentence names after the handwriting):

I. The Joyful Rosary
- Sonata I for violin and basso continuo - The Annunciation [C. 90]
D minor; Violin in normal tuning (Prelude - Variatio - Aria allegro - Variatio - Adagio - Finale)
- Sonata II for violin and basso continuo - The Visitation [C. 91]
A major; Scordature: a-e'-a'-e "(Sonata - Presto - Alaman: - Presto)
- Sonata III for violin and basso continuo - Nativity [C. 92] in
B minor; '-d "(Sonata - Presto - Adagio - Courente - Double - Adagio)
- Sonata IV for violin and basso continuo - Presentation in the temple [C. 93]
D minor; Scordature: a-d'-a'-d "(Ciacona - Adagio - Presto - Adagio)
- Sonata V for violin and basso continuo - Finding in the Temple [C. 94]
A major; Scordature: a-e'-a '-cis "(Prelude - Presto - Allaman: - Guigue - Saraban: - Double)

II. The Painful Rosary
- Sonata VI for violin and basso continuo - Jesus on the Mount of Olives [C. 95]
C minor; Scordature: as-es'-g'-d "(Lamento - Adagio - Presto - Adagio - Adagio - Adagio)
- Sonata VII for violin and basso continuo - Flagellation of Christ [C. 96]
F major; Scordature: c'- f'-a'-c "(Allamanda - Variatio - Sarab: - Variatio)
- Sonata VIII for violin and basso continuo - Christ's Coronation with the Crown of Thorns [C. 97]
B flat major; Scordature: d'-f'-b'-d "(Sonata. Adagio - Presto - Guigue - Double. Presto - Double 2)
- Sonata IX for violin and basso continuo - The Carrying of the Cross [C. 98] in
A minor; : c'-e'-a'-e "(Sonata - Courente - Double - Finale)
- Sonata X for violin and basso continuo - The Crucifixion [C. 99] in
G minor; Scordature: g-d'-a'-d "(Praeludium - Aria - Variatio - Adagio)

III. The Glorious Rosary
- Sonata XI for violin and basso continuo - Resurrection of Christ [C. 100]
G major; Scordature: g-g'-d'-d "(Sonata - Adagio - Surexit Christ hodie [choral partita])
- Sonata XII for violin and basso continuo - Ascension of Christ [C. 101] in
C major; Scordature: c'-e '-g'-c "(Intrada - Aria Tubicinum - Allamanda - Courente - Double)
- Sonata XIII for violin and basso continuo - Mission of the Holy Spirit [C. 102]
D minor; Scordatura: a-e'-cis "-e" (Sonata - Gavott - Guigue - Sarabanda)
- Sonata XIV for violin and basso continuo - Assumption of Mary [C. 103]
D major; Scordature: a-e'-a'-d "([without designation] - Grave - Adagio - Aria - Aria - Guigue)
- Sonata XV for violin and basso continuo - Coronation of Mary in Heaven [C. 104] in
C major; Scordature: g-c'-g'-d "(Sonata - Aria - Canzon - Sarabanda)

IV. Passagalia
- Sonata XVI: Passagalia for violin solo - The Guardian Angel [C. 105] in
G minor; Normal mood (passagalia - adagio - allegro - adagio)

"Harmonia Artificioso-Ariosa"

Harmonia Artificioso-Ariosa Diversimodè accordata et In septem Partes vel Partias distributa à 3. Instrum:, thus " Artful , melodic echo sound in different moods and arranged in seven parts or parts for three instruments" (1696)

  • 1. Partia I in D minor for 2 violins and basso continuo (Sonata - Allamande - Gigue with Variatio I & II - Aria - Sarabande with Variatio I & II - Finale); both violins chorded : a, e ', a', d "[C. 62]
  • 2. Partia II in B minor for 2 violins and basso continuo (Praeludium - Allamande & Variatio - Balletto - Aria - Gigue); both violins chorded : b, f sharp ', b', d "[C. 63]
  • 3. Partia III in A major for 2 violins and basso continuo (Praeludium - Allamande - Amener - Balletto - Gigue - Cicacona); both violins chorded : a, e ', a', e "[C. 64]
  • 4. Partia IV in E flat major for violin, viola da braccio and basso continuo (Sonata - Allamande - Trezza - Aria - Canario - Gigue - Pollicinello); Violin chords : b, es ', b', es ", viola chords : es, b, es ', b' [C. 65]
  • 5. Partia V in G minor for 2 violins and basso continuo (Intrada - Aria - Balletto - Gigue - Passacaglia); both violins chorded : g, d ', a', d "[C. 66]
  • 6. Partia VI in D major for 2 violins and basso continuo (Prelude - Aria with Variatio I - XIII - Finale); no scordature [C. 67]
  • 7. Partia VII in C minor for 2 Viole d'amore and Basso Continuo (Praeludium - Allamande - Sarabande - Gigue - Aria - Trezza - Arietta variata); both viole d'amore chords : c, g, c ', es', g', c "[C. 68]

"Battalia"

Battalia (Suite) in D major [C. 61] (a battle painting ) (Presto I - The dissolute company of allerley Humor Allegro - Presto II - Mars - Presto III - Aria - The battle - Lamento Adagio).
The autograph is entitled:
“Battalia / The dissolute swarming of the Musquetirer / Mars / the battle, and Lamento / of the wounded, with arias / imitated. and Baccho dedicirt / Von H. Biber, Ao 1673. / à 10 / 3rd violin / 4 viol. / 2 violon / 1 harpsichord. ”
And the notes:
“ NB. Where the line is [music example follows] / one has to tap the violin with the bow instead of the violin / it must be tried out, Mars / is already known, but I am not angry with him / know how to change where they are Druml goes in the bass, you have to make a piece of paper on the sides that there is a strepitum [noise, din], but only alone in Mars ”
“ NB: The battle does not have to be played with the bow, but the string with the right hand fast like the stuck . Undt starck! "In
the dissonant 2nd movement:
" hic dissonant ubique, nam ebrii sic diversis cantilenis clamare solent "so:" It's dissonant everywhere, because the drunks tend to roar so different old songs. "
At the end of the harpsichord part:" That was copied in eyl “
The second sentence is out of the ordinary because it has 10 voices (the rest consistently 5 voices). Biber quotes several melodies that were popular at the time, which soon results in a jarring "pathological" Quodlibet. The following are identified:
1) Song Ne takes mý mluwel from the Slovak Codex Vietoris (1660–1670);
2) Song Vojanský Figator from Bohemia (18th century);
3) Törökös , Turkish dance from Hungary (18th century), known from La rencontre imprévu by Gluck / Opern (number 33) (1764);
4) Bergamasca , widespread in Europe since the 16th century, also known in Germany under the title Kraut und Rüben have driven me away and quoted by Bach in the Goldberg Variations in Quodlibet ; 5) Song “Nambli wol can I believe ietz” by Johann Jacob Prinner

"Sonatae Tam Aris Quam Aulis servientes"

German "Sonatas, useful for altars as well as for stately courts", for 6 to 8 instruments, 1676

  • 1. Sonata I a otto for two clarini, two violins, four violas (three violas and "Basso di Viola") and basso continuo [C 114]
  • 2. Sonata II a is for two violins, four violas (three violas and “Basso di Viola”) and basso continuo [C 115]
  • 3. Sonata III a is for two violins, four violas (three violas and "Basso di Viola") and basso continuo [C 116]
  • 4. Sonata IV a cinque for clarino, violin, three violas (two violas and "Basso di Viola") and basso continuo [C 117]
  • 5. Sonata V a is for two violins, four violas (three violas and “Basso di Viola”) and basso continuo [C 118]
  • 6. Sonata VI a cinque for two violins, three violas (two violas and "Basso di Viola") and basso continuo [C 119]
  • 7. Sonata VII a cinque for two clarini, two violins, “Basso di Viola” and basso continuo [C 120]
  • 8. Sonata VIII a cinque for two violins, three violas (two violas and "Basso di Viola") and basso continuo [C 121]
  • 9. Sonata IX a cinque for two violins, three violas (two violas and "Basso di Viola") and basso continuo [C 122]
  • 10. Sonata X a cinque for clarino, violin, three violas (two violas and "Basso di Viola") and basso continuo [C 123]
  • 11. Sonata XI a cinque for two violins, three violas (two violas and “Basso di Viola”) and basso continuo [C 124]
  • 12. Sonata XII a otto for two clarini, two violins, four violas (three violas and "Basso di Viola") and basso continuo [C 125]
  • Clarinduette C 126–137: 01–12 twelve short pieces without the label “a due”, for two clarini alone

"Serenada à 5" ("Night watchman call")

in C major 1673 for 2 violins, 2 violas, violone and harpsichord [C. 75]: Serenada - Allamanda - Aria - Ciacona (without continuo, but singing voice for bass, who sings the call of the night watchman: “Lost you, Mr. Undt, let me tell you, the hammer has hit Neyne (tens), Hüets Feyer, goodbye And praise God the Lord and Our Lady! ”) - Gavotte - Retirada.

Biber's instructions for the performance: “The Serenada, Allamanda, Aria, Gavotte, Retirada are all not repeated ((with Otto:“ are repeated 2 times ”)) from the beginning like other ballets one is used to reproduce. But well occupied, especially the viola brazza 2 ((= viola 2)) which mostly carries out the foundation ((Otto: "most leads")). In the Ciacona, the night watchman finds out how to call the clock here now. And the other instruments are all played without a bow, as on the lute in the gavotte, it comes out nicely, namely the violins under the arms. "

"Canteen Sonora seu Musica Instrumentalis"

thus "sounding table or instrumental music" (1680); in the first edition with double title:
MENSA SONORA, / SEU / MUSICA INSTRUMENTALIS, / Sonatis aliquot liberiùs sonantibus / ADMENSAM, / CELSISSIMI, AC REVE- / RENDISSIMI / SRI PRINCIPIS / AC DOMINI, DOMINI / MAXIMILIANI, ... .. / GANDOLPHI HENRICO JF BIBER, / Capellae Vice-Magistro / M. DC. LXXX.
and
“Die Klingende Taffel / Oder / Instrumental Taffel = Music / With fresh = loud violins = Sound / The Most Revered / High Born Prince / and Mr. / Mr. / MAXIMILIANO / GANDOLPHO; /… .. / Attuned to obedient service / By / Hainrich ((sic)) JF Biber / Hochfürstl. Vice - Capellmaistern ((sic)) "
for violin, 2 violas, violone and harpsichord:

  • Pars I in D major [C. 69] (Sonata - Allamanda - Courante - Sarabanda - Gavotte - Gigue - Sonatina)
  • Pars II in F major [C. 70] (Intrada - Balletto - Sarabanda - Balletto - Sarabanda - Balletto)
  • Pars III in A minor [C. 71] (Gagliarda - Sarabanda - Aria - Ciacona - Sonatina)
  • Pars IV in B flat major [C. 72] (Sonata - Allamanda - Courante - Balletto - Sarabanda - Gigue - Sonatina)
  • Pars V in A major [C. 73] (Intrada - Balletto - Trezza - Gigue - Gavotte - Gigue - Retirada )
  • Pars VI in G minor [C. 74] (Sonata - Aria - Canario - Amener - Trezza - Ciacona - Sonatina)

"Trombet = and musical team service à 4"

in C major 1673-1674 [C. 76] for violin, trumpet, 2 violas, violone and harpsichord: Intrada (with the autograph note Tromba luditur in Violino Solo ((= the trumpet plays from the violin part))) - Sonata - Allamanda - Courante - Sarabanda - Gavotte - Gigue - Sonatina

"Sonata S. Polycarpi à 9"

in C major 1673 [C. 113] for 8 trumpets, kettledrum, basso continuo and violone. Written for the inauguration of Polycarp von Kuenburg (also: Khuenburg) as provost of Salzburg Cathedral on January 13th, or on the occasion of his appointment as Bishop of Gurk in Carinthia on April 2nd, 1673. The manuscript contains the following performance instructions: “NB das Tromba 1. et 2. also 5. and 6. all four must stand together. Undt Tromba 3rd, 4th, 7th, 8th also together, because they go to Tripla ad duos choros. The violon and the bass continuus, however, have to be played as much as possible, the quartuba may well be needed. "

"Fidicinium Sacro-profanum"

Fidicinium Sacro-profanum, tam Choro, quam Foro, Pluribus Fidibus concinnatum et concini aptum , i.e. “Spiritual-secular string playing, for church and marketplace, artfully composed for several string instruments and suitable for playing together” (1682/1683; in the foreword to Biber as opus quartum , also called "opus 4")

  • 1. Sonata I for 2 violins, 2 violas and basso continuo in B minor [C. 78]
  • 2. Sonata II for 2 violins, 2 violas and basso continuo in F major [C. 79]
  • 3. Sonata III for 2 violins, 2 violas and basso continuo in D minor [C. 80]
  • 4. Sonata IV for 2 violins, 2 violas and basso continuo in G minor [C. 81]
  • 5. Sonata V for 2 violins, 2 violas and basso continuo in C major [C. 82]
  • 6. Sonata VI for 2 violins, 2 violas and basso continuo in A minor [C. 83]
  • 7. Sonata VII for 1 violin, 2 violas and basso continuo in D major [C. 84]
  • 8. Sonata VIII for 1 violin, 2 violas and basso continuo in B flat major [C. 85]
  • 9. Sonata IX for 1 violin, 2 violas and basso continuo in G major [C. 86]
  • 10. Sonata X for 1 violin, 2 violas and basso continuo in E major [C. 87]
  • 11. Sonata XI for 1 violin, 2 violas and basso continuo in C minor [C. 88]
  • 12. Sonata XII for 1 violin, 2 violas and basso continuo in A major [C. 89]

"Sonata die Bauren Kirchfartt"

also Sonata à 6 die pauern Kirchfartt in B flat major [C. 110] 1673: 3 violins, 2 violas, harpsichord and violone (Adagio - Presto - Die Pauern Kirchfarth - Adagio - Aria 1 - Aria 2)

Instrumental without name (alphabetical)

Arias

  • Arias à 4 in E minor [C. 52] 1673
    for violin, 2 violas, harpsichord, violone: ​​Intrada - Aria - Aria - Gigue
  • Arias of 4 in A major [C. 53] 1673–1674
    for violin, 2 violas, harpsichord, violone: ​​Sonata - Allamanda - Amoresca - Gigue - Sonatina

"Ballets"

  • Baletti (sic) in G minor (??) [C. 58] 1670–1674
    for 2 violins, 2 violas, violone (without harpsichord part): Intrada - 7 movements without names - Aria 1ma Barbaresca - Aria 2da. The last two sentences mentioned are in the handwriting by a different scribe and are in a different key. There are therefore considerable doubts as to whether they belong to this piece and whether they come from Biber at all
  • Ballettae à 4 in E minor [C. 54] approx. 1680
    for violin (not preserved), 2 violas, basso continuo (not preserved): Brandles - Amener - Montiradar - Courante - Sarabande - Minuet - Retirada - Allegro
  • Ballettae à 4 in D major [C. 55] 1685
    for violin, 2 violas, violone, no harpsichord part: 6 movements without designation - minuet
  • Balletti à 2 violini discordati [C. App. 110]
    for 2 violins with violins and basso continuo: Allemanda - Sarabanda - Courante - Gigue
    Attribution doubtful
  • Balletti à 4 in G major [C. 56] 1673–1674
    for violin, 2 violas, violone, no harpsichord part: Sonata - Allamanda - Courente - Sarabanda - Aria - Gigue - Sonatina
  • Balletti à 6 in C major [C. 57] approx. 1690
    for violin, 2 violas, 2 trumpets, harpsichord, violone: ​​Sonata - Allamanda - Amener - Aria - Balletto - Trezza - Gavotte - Canario - Amoresca - Sarabanda - Gagliarda - Cicacona
  • Balletti Lamentabili à 4 in E minor [C. 59] 1670
    for violin, 2 violas, harpsichord, violone: ​​Allabreve - Allamanda - Sarabande - Gavotte - Gigue - Lamento
  • Balletto in B minor [C. 60] 1673
    for violin, 3 violas, violone, without harpsichord part: Intrada - Ballo - Trezza - Aria - the Werber Aria - Allemanda

Fantasia in D major [C. 77]

for solo violin and basso continuo; the piece is partly an earlier version of Sonata IV of the Sonatae Violino Solo [C. 141], so requires the same scordature (a, e ', a', d ")

"Harmonia Romana" in D minor [C. App. 111] 1669

for 3 violins, 3 violas, violone, harpsichord: Sonata - Courante - Fuga - Passage - Saltarello - Allemanda - Gigue
Attribution doubtful

Intrada - Menuete - Boure - Courant - Saraband et Gigue in D major [C. App. 112] 1681

for organ solo

Pastorella in A major [C. 106]

for solo violin and basso continuo (No. 79 of manuscript 726 in the Minorite Convent Vienna). The last sentence is based on the song “Nambli wol can I believe ietz” by Johann Jacob Prinner , which Biber also uses in “Battalia”. They are closely related to a Pastorella by Johann Heinrich Schmelzer .

Sonatas

  • Sonata in C major [C. 107]
    for solo violin and basso continuo (No. 75 of manuscript 726 in the Minorite Convent Vienna). It is an early version of the Sonatae Violino Solo from 1681.
  • Sonata in E major [C. 108]
    for solo violin and basso continuo (No. 84 of manuscript 726 in the Minorite Convent Vienna).
  • Sonata à 3 in D minor [C. App. 117] 1679–1680
    for 2 violins, trombone, violone, organ
    Attribution doubtful
  • Sonata à 3 in G minor [C. App. 118] 1679–1680
    for 2 violins, viola da gamba solo, violone, organ
    Attribution doubtful
  • Sonata à 4 violis in D major [C. App. 119] 1663
    for violin, violetta , 2 violas, organ
    Attribution doubtful
  • Sonata à 5 in D minor [C. App. 120] October 12, 1667 ( A 0 1667 / Die 12. 8bris Scripta )
    for 2 violins, 3 violas (including one violone), organ
    attribution doubtful
  • Sonata à 6 in C major [C. 109] 1673
    for 2 violins, 2 violas, trumpet, organ, violone
  • Sonatae Violino Solo [C. 138-145] 1681
    • 1. Sonata I in A major [C. 138] (Prelude) -Variatio-Finale
    • 2. Sonata II in D minor [C. 139] (Prelude) -Aria e variatio-Finale
    • 3. Sonata III in F major [C. 140] (Praeludium) -Aria e variatio-Variatio
    • 4. Sonata IV in D major [C. 141] (scordatura: a, e ', a', d ") (Sonata) -Gigue-Adagio e variatio- Finale
    • 5. Sonata V in E minor [C. 142] (Praeludium) -Variatio-Presto-Aria e varatio
    • 6. Sonata VI in C minor [C. 143] (Sonata) -Passacaglia (from here scordatura: g, d ', a', d ") - Adagio-Gavotte- (Finale)
    • 7. Sonata VII in G major [C. 144] (Sonata) -Aria-Adagio-Ciacona
    • 8. Sonata VIII in A major [C. 145] (Sonata) Aria Sarabanda Allegro Gigue
  • Sonata Jucunda in D major (= "delightful S.") [C. App. 121] after 1670
    for 2 violins, 3 violas, basso continuo
    Attribution doubtful
  • Sonata Paschalis in C major (= "at Easter") [C. App. 122] March 15, 1666 ( A 0 1666 / Die 15. Marti )
    for 2 violins, 2 violas, violone
    Attribution doubtful
  • Sonata per tabula of 10 in C major [C. 112] after 1670
    for 5 flautae (recorders), 2 violins, 3 violas, organ
  • Sonata Violino Solo in A major [C. 147] after 1670
    for solo violin and basso continuo

font

  • Singing foundation. [C. 147]
    Biber wrote it in 1694 for his then 17-year-old daughter Anna Magdalena Biber (1677–1742), who became a nun in 1696 under the name Maria Rosa Henrica in the Nonnberg monastery and later rose to become choir regent and conductor. It is an elementary music and singles teaching; the manuscript is still in the pen today and comprises 33 pages.

literature

  • Randolf Jeschek (Ed.): The man for “pizare” - the life and work of Heinrich Ignaz Franz Biber. Regensburg 2014, ISBN 978-3-940768-49-0 .
  • Heinrich Ignaz Franz Biber, instrumental works of handwritten tradition. Edited by Jiři Sehnal. Monuments of sound art in Austria, Volume 151, Graz 1997.
  • Sehnal - Collectio: Jiři Sehnal and Jitřenka Peškova: Caroli de Liechtenstein-Castelcorno Episcopi Olomucensis operum artis musicae collectio Cremsirii reservata, volume 1. Prague 1997. (The text is Czech, English and German. Translation of the Latin title: “The special collection the musical works of art by Karl von Liechtenstein-Castelcorno, Bishop of Olomouc, in Kremsier ”). The German-language introduction "The Origin of the Collection" online.
  • Eric Thomas Chafe: The church music of Heinrich Biber. Ann Arbor, Michigan 1987, ISBN 0-8357-1770-4 . (Contains a complete catalog raisonné on pp. 233–264, cited as such with “C.” and number.)
  • Craig A. Otto: Seventeenth-Century Music from Kroměříž, Czechoslovakia: A catalog of the Liechtenstein Music Collection on microfilm at Syracuse University , Syracuse / USA 1977
  • Heinrich Ignaz Franz Biber, instrumental works of handwritten tradition. Edited by Jiři Sehnal. Monuments of Tonkunst in Austria, Volume 127, Graz 1976.
  • Arrey von Dommer :  beavers from beavers, Franz von . In: Allgemeine Deutsche Biographie (ADB). Volume 2, Duncker & Humblot, Leipzig 1875, p. 610.
  • Georg Reichert:  beavers from beavers, Franz von. In: New German Biography (NDB). Volume 2, Duncker & Humblot, Berlin 1955, ISBN 3-428-00183-4 , p. 214 f. ( Digitized version ).

Web links

Commons : Heinrich Ignaz Franz Biber  - Collection of images, videos and audio files

Individual evidence

  1. ↑ digitized version
  2. ↑ See above works / literature
  3. ↑ a b Ernst Hintermaier: Foreword to the “Missa ex b”, Heinrich Ignaz Franz Biber, Selected Works, Bad Reichenhall 1987
  4. ↑ Digital copy of the print
  5. ↑ Vesperae à 32 : Sheet music and audio files in the International Music Score Library Project
  6. ↑ Ad Maiorem Dei Gloriam Beatissimae Mariae Virginis , German "To the higher glory of God and the most blessed Virgin Mary"
  7. ^ A b Alfred Reichling: Raffaelini, Francesco Maria. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 4, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2005, ISBN 3-7001-3046-5 .
  8. ↑ Sheet music for the aria of Germanico: All'armi, a Battaglie (2nd act, 6th scene) by IMSLP
  9. ↑ Sonata violino solo representativa : Sheet music and audio files in the International Music Score Library Project
  10. ↑ Page 63 of the digital version of mpiwg-berlin
  11. ^ Charles E. Brewer: The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries. Farnham 2011, pp. 106-113; also in The Case of the Fallacious Fauna [1] ; detailed quote here in "Discussion"
  12. ↑ Homepage [2]
  13. ↑ CD: [3] ; Booklet page 18: [4]
  14. ↑ The dedication sheet, which was only found in 2008, bears the date 1678 (by an unknown hand); the dedicatee Maximilian Gandolph von Khuenburg died in 1687.
  15. ↑ a b digital copy
  16. ↑ Harmonia artificioso-ariosa : sheet music and audio files in the International Music Score Library Project
  17. ↑ Battalia à 10 : Notes and audio files in the International Music Score Library Project
  18. ↑ Heinrich Ignaz Franz Biber, BATTALIA à 10, facsimile of the autograph manuscript and its new edition presented by Bernhard Moosbauer, Salzburg 1999 ( Monuments of Music in Salzburg, facsimile editions Volume 8)
  19. ↑ After Jirí Sehnal: The compositions of Heinrich Biber in Kremsier (Kroměříž) in: Sborník prací Filozofické fakulty brněnské univerzity (Collection of the works of the Philosophical Faculty of the University of Brno) 1970 p. 32 ff. by Jan Gruna cf.
  20. ^ A b Charles E. Brewer: The Instrumental Music of Schmeltzer, Biber, Muffat and their Contemporaries. Ashgate Publishing, 2013, ISBN 9781409494225 , p. 102 ( limited preview in Google Book Search).
  21. ↑ Sonatae tam aris quam aulis servientes : Sheet music and audio files in the International Music Score Library Project
  22. ↑ Serenada à cinque, A 877a : sheet music and audio files in the International Music Score Library Project
  23. ↑ The text differs in the sheet music printed by IMSLP and the catalog by Otto; essential differences are noted
  24. ↑ Mensa sonora : sheet music and audio files in the International Music Score Library Project ; 58 pages in total, title pages of the first edition p. 7
  25. ^ Digitized version of the first print
  26. ↑ Chafe p. 242 prescribes two violins instead of violin and trumpet, as does Sehnal in DTÖ 127 p. 124, distinguishing between “violino solo” and “violino”. Because of the Trombet listed in the title, Sehnal - Collectio p. 201 and Otto p. 184 are followed here
  27. ↑ Notes:
  28. ↑ Cf. Jiři Sehnal: Foreword on p. VII to “Heinrich Ignaz Franz Biber, Instrumental Works of Handwritten Tradition”, (Monuments of Music in Austria Volume 151) Graz 1997. Chafe thinks that the occasion is the inauguration on the commemoration of St. Polycarp , the 26th. January been; however, this is February 23, cf. Saint calendar
  29. ↑ On this: Charles E. Brewer: The Instrumental Music of Schmeltzer ((sic)), Biber, Muffat and their Contemporaries, Farnham / GB 2011 page 160 see google books
  30. ↑ fidicinium sacro-profanum : sheet music and audio files in the International Music Score Library Project (title page of the first edition on page 5)
  31. ↑ Eric Thomas Chafe in: Heinrich Franz Biber 1644–1704 Music and Culture in the High Baroque Salzburg Exhibition Catalog Salzburg 1994 p. 195
  32. ↑ Arias à 4 : Sheet music and audio files in the International Music Score Library Project
  33. ↑ So Chafe; Sehnal - Collectio p. 186/187 records in the incipits a ♭ for the first 8 movements and ♯ for the last two
  34. ↑ Ballettae à 4 : Sheet music and audio files in the International Music Score Library Project
  35. ↑ Balletti Lamentabili : Sheet music and audio files in the International Music Score Library Project
  36. ↑ Passed on as an anonymous manuscript in Biber's handwriting
  37. ↑ Violin Sonata, C 108 : Sheet music and audio files in the International Music Score Library Project
  38. ↑ 8 Violin Sonatas, C 138-145, digital version of the first print in color (63 pages) : sheet music and audio files in the International Music Score Library Project and "modern" sheet music from 1897/1959 (111 pages) at IMSLP ( Memento des Originals from 15 July 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / burrito.whatbox.ca
  39. ^ Gerhard Walterskirchen: Music Lessons in the 17th Century / Heinrich Franz Biber's Singing Foundation. In: Heinrich Franz Biber 1644–1704 - Music and Culture in High Baroque Salzburg - Studies and Sources. Exhibition catalog. 1994, pp. 66-73. (with copies from the work)
  40. ↑ Pages 211-226
personal data
SURNAME Biber, Heinrich Ignaz Franz
ALTERNATIVE NAMES Beaver from Beavers, Heinrich Ignaz Franz (full name)
BRIEF DESCRIPTION Bohemian violinist and composer
DATE OF BIRTH baptized August 12, 1644
PLACE OF BIRTH Wartenberg
DATE OF DEATH May 3, 1704
Place of death Salzburg