Biber: Mystery Sonatas by Julia Wedman

The so-called Mystery Sonatas by Heinrich Ignaz Franz von Biber belong amongst the most frequently performed instrumental pieces of the 17th century, perhaps due to both their musical quality as well as their considerably mysterious character. The first mystery begins with the loss of the title page of manuscript, leaving the work unnamed by its author. What we do know is that the work was composed during the 1670s and 1680s and that it has had almost as many interpretations as there are violinists. The sonatas sometimes go by the name of the Rosary Sonatas, and there is no doubt about the connection to the Rosary and the ritual of praying with rosary beads, as each sonata is accompanied by an engraving of the episodes in Biber's original presentation of the manuscript.

Canadian violinist Julia Wedman, inspired by paintings of the Mysteries of the Rosary she saw in the Aula Academica in Salzburg, emphasizes the sonatas' programmatic detail in her readings and execution of the works. Although there is no firm evidence that Biber himself was inspired by these paintings, the idea is not implausible. Wedman displays a more modern or individual approach to the arrangements by incorporating gamba, theorbo, archlute, organ, harpsichord, cello and harp. The addition of these instruments can possibly take the focus off the violin in true virtuoso works; however, the effect here is never unmusical and allows her interpretation to build effectively to the Crucifixion and Resurrection movements.

All in all, this is one of the better recordings of these sonatas, and well worth considering for those who don't already have them in their collection. Or, on the other hand, even if you do have some previous versions, Ms Wedman's interpretation is interesting enough justify its place in your collection.