Singing and Chiming. Ancient and Baroque Sounds

Artists

MUSIca ALcheMIca

Lina Tur Bonet, violin and direction

Program

The Mystery Sonatas II (1674?)

Heinrich Ignaz Franz von Biber (1644-1704)

Sorrowful Mysteries:

Sonata No. 9 in la menor, C 98

Sonata No. 10 in sol menor, C 99

Joyful Mysteries:

Sonata No. 11 in G major, C 100

Sonata No. 12 in C major, C 101

Sonata No. 13 in D minor, C 102

Sonata No. 14 in D major, C 103

Sonata No. 15 in C major, C 104

Passacaglia for solo violin in G minor, C 105

In co-production with the Centro Nacional de Difusión Musical

Unveiled Mysteries II

Although they include descriptive effects, the Rosary Sonatas seek above all the subtle adaptation of the colour and sound of each piece to the expressive implications of the mystery they represent. To achieve this, Biber turned to the scordatura procedure, that is, the unconventional tuning of the violin strings. Only the first of the sonatas and the final Passacaglia require the normal tuning of the instrument, by fifths. Constructed with the characteristic formal freedom of the stylus phantasticus, each sonata is a world open to experimentation, fantasy and the emotional impact of the listener.