The Purcell Quartet with Elizabeth Wallfisch - Heinrich Ignaz Franz von Biber: Harmonia artificiosa ariosa (1994) 2CDs

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The Purcell Quartet with Elizabeth Wallfisch - Heinrich Ignaz Franz von Biber: Harmonia artificiosa ariosa (1994) 2CDs

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Like many of his German and Austrian contemporaries, Bohemian-born composer Heinrich von Biber was strongly influenced by the Italian school of violin composition that included Biagio Marini (1587-1665) and Marco Uccellini (1603-1680). A noted virtuoso himself, Biber and his teacher Johann Heinrich Schmelzer (1621-1680) were two of the most important figures of the late seventeenth-century Viennese violin style. Biber's keen understanding of the technical and expressive possibilities of the instrument is evident in his innovative use of pizzicato (plucking of the string with the finger), double and triple stops (more than one note played at once creating "chords"), col legno (stick of the bow on the string), sul ponticello (played close to the bridge), and, especially, scordatura (intentional "mistuning" of the strings). Scordatura allowed the performer to play chords in particular keys more easily, extended the range of notes, and provided more open strings in order to negotiate the difficulty of polyphonic writing for a single instrument. Biber's imaginative and original use of these techniques or special effects brought violin virtuosity to an entirely new level of musical expression in the Baroque period. It can be argued that J. S. Bach's masterful Sonatas and Partitas for Solo Violin, written in 1720, are direct descendants of Biber's grounding breaking Mystery or Rosary Sonatas, composed nearly a quarter of a century earlier.

The Harmonia artificiosa-ariosa, a collection of seven partitas or suites, calls for violin, viola, and continuo (keyboardist was expected to "flesh out" or harmonize over the bass part). Technically trio sonatas, they were not published until eight years after Biber's death. Five are specifically scored for two violins, one for one violin and one viola, and one for two violas. Six of the seven partitas utilize the above-mentioned scordatura tuning, extending the potential of the instruments in terms of harmony, sonority, and technical capabilities. Imitation and counterpoint are often used. Each partita follows a similar structure: praeludium or sonata as introduction (usually improvisatory in nature or recitative-like), series of dance movements such as gigue or allamande, aria, and sets of variations. These variations presented opportunities for the kind of virtuosic fireworks and figuration that thrilled the ear. This particular format and style of composition seems to have derived from the earlier English viol or Italian viola bastarda tradition (sixteenth-century forerunners of the cello).

The Ciacona of Partita No. 3 is a delightfully crafted strict canon in unison. (Fans of Johann Pachelbel's famous Canon in D will love this.) An exciting highlight of Partita No. 6 is its aria with thirteen variations including another canon with the two upper voices only a half beat apart. Partita No. 7 is a perfect example of Biber's ability to convey a rich range of feeling while challenging the performer's technical skill. From contemplative introversion to bold abandon, each movement gives birth to a new musical experience. The drama and pathos of the Praeludium, in this final partita, are emphasized by the overriding minor tonality and autumnal quality of the two violas. (It must be noted that the use of viola as a solo instrument was unusual at this time.) Contrasting this movement is the joyful, peasant-like quality of the Terza, sounding very much like a rustic dance. The suite ends with a poignant Arietta, in this case, a set of variations over a repetitive ground bass. Full of longing and passion with flashes of brilliant bravura, it is further complicated by moments of resignation and complete calm. Infinite variety, unique inspiration, and emotional depth characterize these stunning examples of early violin repertoire from the pre-Bach era.

Description by Mona DeQuis, Allmusic.com

Biber worked in an area of Europe (Bohemia) not generally associated with mainstream baroque innovation, though he made an impression on an astute Charles Burney who thought him the best violinist of the period and ''his solos the most difficult and most fanciful of any music I have seen''. Part of his fame no doubt resulted from his mastery of scordatura, a technique of re-tuning strings which enabled the violinist to play chords with greater ease than if the instrument was tuned conventionally. It also allowed certain scale degrees to be highlighted with special tonal colours, often (for example in Biber's Mystery Sonatas) as a means of emphasizing a prevailing effect. Harmonia artificiosa was posthumously published in 1712 and marks an important advance not only regarding the violinist's expressive and technical armoury, but as a means of exploring scordatura in the realms of ensemble music, an idiom (with or without scordatura) in which Biber is arguably second to none in the seventeenth century. Indeed, this collection of seven Partitas (really suites) promotes the principles of good consort writing as voraciously as it does the technique of scordatura; this is what makes the marriage between these two entwined disciplines so satisfying, as well as unique.

Not having other performances to go by (this is the first complete version on record), I am instantly struck by the Purcell Quartet's feeling for colour, very much in the way I was by John Holloway's recording of the Mystery Sonatas (Virgin, 5/91). Without colour and a highly communicative group of players this music can quickly degenerate into fare for loyal devotees only. As it is, there are some revelations here which I would recommend to anyone. The music is perhaps less consistent melodically than, say, either the consort collections, Sonatae tam aris quam aulis servientes (1676) or Fidicunium Sacro-profanum (1682 and badly in need of a good recording) and a few of the more formal dances in the first two Partitas are a touch ordinary by Biber's standards. The introspective nature of some movements should not be underestimated however: there are pieces here which draw on a type of poise similar to the English fantasia-suite tradition of Coperario and Lawes (and more directly Biber's knowledge of the English lyra viol and division techniques) which can initially be a little disconcerting if you are used to the concentrated abstract dramas which Biber cooks up in Sonatae tam aris. This is not the case in Partita No. 3 whose Praeludium is a fantastic improvisatory toccata over a pedal and the dances here seem to have a more classical Biber-like spring in their step. The playing is delightful, so rhythmically supple in the inspiring final Ciacona (Pachelbelian in ingenuity with a canon to boot), lucidly expressed and engagingly paced—as in the more austere example in Partita No. 5.

A scordatura viola replaces the second violin in Partita No. 4 and makes for some delicious coloration especially in the Aria which the Purcell Quartet play beautifully: vintage melodic Biber here. The fresh and robust view taken in the majority of pieces is largely successful, even if the harpsichord can come across as slightly relentless at times. These Partitas are of course not supposed to be heard back to back and the interchanging organ provides an adequate antidote; if the continuo sounds tame and quirkless in comparison with the violins then that has as much to do with Biber's unyielding imagination as anything else. None of this detracts from an important release of some exceptional baroque instrumental music, unavailable up to now. The collection appears to get better as it progresses: the final two works are often magical in their invention (despite a few rough edges which don't matter in the least). Partita No. 7 sports two viola d'amores in an affecting C minor, a work full of riches including another virtuosic treatment of a ground bass. I am grateful to have been introduced to these works through such committed performances.'

Review by Jonathan Freeman-Attwood, Gramophone

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The Purcell Quartet with Elizabeth Wallfisch - Heinrich Ignaz Franz von Biber: Harmonia artificiosa ariosa (1994) 2CDs

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The Purcell Quartet with Elizabeth Wallfisch - Heinrich Ignaz Franz von Biber: Harmonia artificiosa ariosa (1994) 2CDs

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The Purcell Quartet with Elizabeth Wallfisch - Heinrich Ignaz Franz von Biber: Harmonia artificiosa ariosa (1994) 2CDs

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