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The Corelli Violin Sonata in D minor, Op. 5 No. 12, known as ‘La Folia,’ is a cornerstone of Baroque music. Composed by Arcangelo Corelli around 1685, it’s notable for its intricate variations and the hauntingly beautiful “Folia” theme—a melancholic melody that became incredibly popular throughout t...
Biber’s Rosary Sonata No. 10, ‘The Crucifixion,’ is a significant Baroque work for solo violin and continuo. It uniquely presents the Hail Mary prayers as intricate melodic passages within the violin's sound, utilizing scordatura – an alternative tuning system – to achieve this effect. This piece sh...
Tartini’s Violin Sonata in G minor, B.g5, ‘Devil’s Trill’, is a cornerstone of Baroque violin repertoire. Composed by Italian violinist Giuseppe Tartini around 1736, the sonata's notable final movement presents an extraordinarily complex and rapid trill—the “devil’s trill”—that pushed technical boun...
The Corelli Violin Sonata in D minor, Op. 5 No. 12 “La Follia,” composed around 1700, is a significant work of Baroque music. It showcases intricate variations built upon an ancient Spanish ground bass known as a folía. The piece’s enduring popularity stems from its masterful technique and expressiv...
Heinrich Ignaz Franz Biber’s Rosary Sonata No. 15, composed around 1676, is a significant work within his series of "Mystery Sonatas." This Austrian Baroque piece utilizes scordatura—a tuning technique that alters the violin's standard pitch—to create distinctive textures and effects. The sonata was...
Tartini's Violin Sonata in G minor 'Devil's Trill' (c. 1713, published posthumously) is celebrated for its technically demanding trill passages and the legend that Tartini dreamed the Devil played it.
Heinrich Ignaz Franz Biber composed this Austrian Baroque piece around 1676 for his famous Mystery Sonatas, a collection celebrated for its devotional and technical depth.
Composed circa 1676 by Heinrich Ignaz Franz Biber, this Austrian Baroque violin sonata belongs to his renowned Mystery Sonatas and illustrates Jesus carrying the cross.
This Austrian Baroque sonata is part of the 1676 Mystery Sonatas by Heinrich Ignaz Franz Biber, a cycle renowned for its complex scordatura and programmatic design.
Composed by Heinrich Ignaz Franz Biber in Austria around 1676, this piece begins the sorrowful mysteries section of his highly virtuosic Mystery Sonatas cycle.
Composed around 1676 by Heinrich Ignaz Franz Biber, this Austrian Baroque work opens the Mystery Sonatas, a cycle depicting the joyful mysteries of the rosary.
Composed by Heinrich Ignaz Franz Biber around 1676 in Austria, this virtuosic work is part of the Mystery Sonatas, uniquely requiring alternate violin string tunings.
This Austrian Baroque sonata by Heinrich Ignaz Franz Biber is part of the 1676 Mystery Sonatas and uses a distinct scordatura tuning to depict the birth of Jesus.
Corelli's G minor Op. 5 No. 5 is a 1700 Italian violin sonata, one of the Op. 5 church sonatas that helped standardize violin technique.
Heinrich Ignaz Franz Biber composed this virtuosic Austrian Baroque work around 1676 as part of his monumental Mystery Sonatas, representing the crowning with thorns.
This Austrian Baroque violin sonata by Heinrich Ignaz Franz Biber dates to around 1676 and forms part of the Marian Mystery Sonatas, depicting Christ's scourging.
Corelli's D minor Op. 5 No. 7 is a 1700 violin-continuo sonata, opening the chamber-sonata group of dances in his famous Op. 5 set.
Heinrich Ignaz Franz Biber composed this Austrian Baroque sonata around 1676 as the second work in his famous Mystery Sonatas, representing the second joyful mystery.
Corelli's E minor Op. 5 No. 8 is a 1700 Italian chamber sonata for violin and continuo, from the dance-based second half of Op. 5.
Heinrich Ignaz Franz Biber included this Austrian Baroque work in his famous 1676 Mystery Sonatas, musically portraying the finding of the young Jesus in the temple.
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.
Composed around 1676 by Heinrich Ignaz Franz Biber, this piece is the fourth of his notable Mystery Sonatas, illustrating the presentation of Christ at the temple.
Corelli's D major Op. 5 No. 1 is a 1700 Italian sonata for violin and continuo, opening the Op. 5 set that became a Baroque violin model.
Corelli's A major Op. 5 No. 6 is a 1700 sonata for violin and continuo, closing the church-sonata group in his landmark Op. 5 collection.
Corelli's B-flat major Op. 5 No. 2 is a 1700 Italian sonata for violin and continuo, part of the church-sonata half of his influential Op. 5.
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.
Corelli's A major Op. 5 No. 9 is a 1700 violin-continuo chamber sonata, part of the Op. 5 collection that circulated widely across Europe.
Corelli's C major Op. 5 No. 3 is a 1700 Italian violin-continuo sonata, notable within Op. 5 for codifying the Roman Baroque sonata style.
