Biber: Violin Sonatas

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John Holloway has contributed as much as anyone to modern-day recognition of Biber's status as one of the greatest of all violinist-composers. In his notes he draws attention to the difference... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4720842
Label: ECM
Series: New Series
Length: 76 minutes

Heinrich Biber: Sonatae Violino Solo (1681)

Work length25:04

$1.70

$2.30

John Holloway (violin), Aloysia Assenbaum-Holloway (organ), Lars Ulrik Mortensen (harpsichord)
Recorded: 2001-05-16
Recording Venue: Propstei St. Gerold

Sonata No. 3 In F

Track length12:57

$0.85

$1.15

Sonata No. 4 In D (Scordatura)

Track length12:07

$0.85

$1.15

Heinrich Biber: Sonata No. 81 In A (Unpublished)

Work length12:15

$0.85

$1.15

John Holloway (violin), Aloysia Assenbaum-Holloway (organ), Lars Ulrik Mortensen (harpsichord)
Recorded: 2001-05-16
Recording Venue: Propstei St. Gerold

Heinrich Biber: Sonatae Violino Solo (1681)

Work length25:47

$1.70

$2.30

John Holloway (violin), Aloysia Assenbaum-Holloway (organ), Lars Ulrik Mortensen (harpsichord)
Recorded: 2001-05-16
Recording Venue: Propstei St. Gerold

Sonata No. 6 In C Minor

Track length13:05

$0.85

$1.15

Sonata No. 7 In G

Track length12:42

$0.85

$1.15

Heinrich Biber: Sonata No. 84 In E (Unpublished)

Work length13:16

$0.85

$1.15

John Holloway (violin), Aloysia Assenbaum-Holloway (organ), Lars Ulrik Mortensen (harpsichord)
Recorded: 2001-05-16
Recording Venue: Propstei St. Gerold

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Reviews

2010

John Holloway has contributed as much as anyone to modern-day recognition of Biber's status as one of the greatest of all violinist-composers. In his notes he draws attention to the difference in character between the sonatas in normal tuning and those that asl for scordatura or altered tunings, citing the latter (Nos 4 and 6 from the published set) as 'more intimate, more personal'. But actually this is the side which comes across most strongly in these performances anyway, at the expense of the extrovert maybe, but with no shortage of effective musical moments nevertheless; the point halfway through the Sixth Sonata when the violin re-emerges retuned and with a veiled new sound is managed with ghostly beauty.
With the violin resonating pleasingly through the many double- and triple-stoppings, and Holloway's bowing demonstrating a delicious lightness and freedom, these fundamentally inward, tonally aware performances also seem to have more of the smell of the 17th century about them than their current rivals (including Manze's, reviewed above),which push the violin's sound out a bit more. A respectfully resonant recording is a help here, as is the gentle but effectively unfussy continuo support of harpsichord and organ.
Anyone who already has the Manze need have no qualms about adding this one to their collection.

Biber: Violin Sonatas

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