JAVS Spring 2024

3 H.I.F. Biber, Rosenkranz-Sonaten (Facsimile of the Bayrische Staatsbibliothek Mü nchen: Mus. Mss. 4123), (M. H. Schmid, Ed.), Strube, 1. 4 Ibid. 5 Ibid., 98. 6 The engravings are only one of several expressions of graphic art in the manuscript. The same document includes hand-painted patterns on the back of the title pages, custos at the end of each line and graphic ornaments at the end of each sonata. 7 Biber, Rosenkranz-Sonaten (Facsimile) , 2, 7, 10, 14, 18, 22, 26, 30, 36, 41, 47, 54, 58, 62, 70, 77. 8 Ibid., 91. 9 Ibid., facsimile appended to the edition. 10 Ibid., 95. 11 Ibid., 102. 12 In this Sonata, Biber demands an unusual stringing technique. The two middle strings are to be loosened and interchanged at the nut and bridge; this is indicated by the upper bars linking the eighth notes, which are at octave intervals, in the scordatura indication at the beginning of the sonata. Thus, the sign of the cross is visible twice on the instrument, on the pegbox and between the bridge and the tailpiece. 13 Biber, Rosenkranz-Sonaten (Facsimile) , 103. Biblography Arroyas, Frédérique (2007). “Diabolus in Musica: La « sonate de la résurrection » de heinrich biber, arme de détournement dans instruments des ténèbres de nancy huston.” L’Esprit Créateur 47(2), 88–100. https://doi. org/10.1353/esp.2007.0030. Beyer, Amandine. Mystery Sonatas . Gli Incogniti. Harmonia Mundi, 2023. 2 compact discs. Beznosiuk, Pavlo. Liner Notes for The Rosary Sonatas. David Roblou, Paula Chateauneuf, Richard Tunnicliffe and Timotht West. Avie Records, 2003. 2 compact discs. Biber, Heinrich Ignaz Franz. Mystery (Rosary) Sonatas for violin (scordatura) and continuo and Passacaglia for unaccompanied violin. (Facsimile) . The Early Music Company Ltd (1997). Biber, Heinrich Ignaz Franz. Mystery sonatas for violin (Normal and scordatura tuning) and figured bass realize for organ or harpsichord.: Vol. Vol. I: Sonatas Nos. I-V, Vol. II: Nos. VI-X (out of print), Vol. III: Sonatas Nos. XI XV. W. Tortolano, Ed. GIA Publications, Inc. (1993). Biber, Heinrich Ignaz Franz. Mystery Sonatas for violin and continuo: Vol. I: Sonatas I-V, II, Sonatas VI-X, III: Sonatas

Conclusion Biber’s Mystery (Rosary) Sonatas cycle stands as a singular aural document of both instrumental form and performance technique, as well as of Counter Reformation politics, court art, and musical-meditative piety. This ongoing research which has been carried out as a personal project of the editor for several years and lies very close his soul, represents in the most accurate possible way the contents of the original manuscript. This results in a complete new academic edition for violin and basso continuo as well as its critical commentary on the various musical decisions and analysis made in each measure of the sonatas while in the process of understanding the original score and presenting it in the most truthful way. This violin edition, while presented to the violin community for their use and study, were completed as a starting point to present in the most truthful way the first complete edition of all the Mystery (Rosary) Sonatas for viola and continuo transcribed by Gabriel Forero. This allows the language of these scordaturas in Heinrich Biber’s Mystery-Rosary Sonatas to be fully accessible to the viola community for the first time. This is also an attempt to be performed more and more, and hoping to honor the words of the musicologist Giovanni Battista Doni when he referred to Biber’s music by saying: “ the violin [or the viola] in the hands of a skilled player possesses the sweetness of the lute, the elegance of the viola da gamba, the dignity of the harp, the power of the trumpet and the melancholy of the recorder.” 13 As of the date of publication of this article, the editions have been fully completed and are currently seeking ways to get them published for public access. Until this happens, these materials are available for consultation and performance through the author. Footnotes: 1 It is important to mention that most of the contents of this research have a direct relationship with the Christian Catholic religion, and that these relationships

have been considered within the framework of academic research and not from any religious perspective or purpose.

2 Since there is no English-language description of the origins of this work and its manuscript, this section is offered as background to creating the new edition and summarizes information from the German facsimile edition and other different sources.

Journal of the American Viola Society / Vol. 40, No. 1, Spring 2024

47