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Heinrich Ignaz Franz Biber’s Passacaglia for Solo Violin in G minor is a significant Baroque piece composed around 1676. It represents one of the earliest substantial works written for unaccompanied violin, showcasing remarkable technical skill through its complex repeating ground bass. The work's i...
Biber's Rosary Sonata No. 10 'The Crucifixion' (c. 1676) closes the Sorrowful Mysteries group and is among the most harmonically intense pieces in the 15-sonata cycle.
The opening work of Heinrich Biber's Rosary Sonatas (c. 1676), depicting the Annunciation, is the only sonata in the 15-piece cycle that uses standard rather than scordatura tuning.
Biber's Rosary Sonata No. 15 'The Coronation of the Virgin' (c. 1676) is the final numbered sonata in the cycle, closing the Glorious Mysteries before the set's unaccompanied passacaglia.
Biber's Rosary Sonata No. 7 'The Scourging at the Pillar' (c. 1676) is the second Sorrowful Mystery sonata, known for its intense, expressive writing with scordatura violin tuning.
Biber's Rosary Sonata No. 6 'The Agony in the Garden' (c. 1676) opens the Sorrowful Mysteries group within the 15-sonata cycle, using scordatura to evoke a penitential character.
Biber's Rosary Sonata No. 12 'The Ascension' (c. 1676) is the second Glorious Mystery in the cycle, continuing the use of scordatura within the set's concluding devotional group.
