Works

A Closer Look at the Catalogue

Biber's output falls into a handful of distinct families, and knowing them makes it much easier to navigate concerts and recordings. Beyond the famous Mystery (or Rosary) Sonatas, the most important instrumental collection is the set of eight Sonatae violino solo published in 1681. These works show off the virtuoso technique that made Biber celebrated in his own lifetime: high positions, rapid passagework, multiple stops and, in some movements, scordatura, the retuning of the violin's strings to unlock new chords and resonances.

Ensemble and descriptive music

Biber also wrote a good deal for strings and continuo in larger groupings. The Sonatae tam aris quam aulis servientes (1676) were meant, as the title suggests, for both church and court. Collections such as Mensa sonora and Fidicinium sacro-profanum offer elegant table music and dance suites. His playful Battalia is a favourite with audiences: it depicts soldiers in camp, with deliberately clashing tunes sung at once, a paper-muted double bass imitating a snare drum and a lament for the wounded.

Sacred vocal works and stage music

As Kapellmeister in Salzburg, Biber composed music for the cathedral's grand ceremonies. The Requiem in F minor and the Missa Christi resurgentis are among the most performed today. The enormous Missa Salisburgensis, written for many separate choirs and instrumental groups placed around the building, is now generally attributed to Biber, though it was long credited to Orazio Benevoli. He also left school dramas and an opera, Chi la dura la vince, which survives in part.

Where to start

• For solo violin: the closing Passacaglia of the Mystery Sonatas, written for unaccompanied violin.
• For colour and humour: Battalia.
• For sacred grandeur: the F minor Requiem.

Our recordings page suggests performances of these pieces, and the manuscripts section explains how several of them have come down to us.