MASTERCLASS Expert guidance for practice and performance

Biber's 'Rosenkranz' Sonata no.4

- Ciacona
Practical tips on performing this gem of the Baroque repertoire

BY ELIZABETH WALLFISCH
SOLOIST AND ARTISTIC DIRECTOR OF THE WALLFISCH BAND

HEINRICH IGNAZ FRANZ VON BIBER composed 16 The 16tb Sonata, 'The Guardian Angel', is an exquisite
'Rosenkranz' (Rosary) sonatas. All but one are written for Passacaglia for solo violin, which stands alone.
violin and continuo and are 'meditations' connected to one Much is made of the scordatura feature of Biber's writing.
of the 'Mysteries of the Rosary'. These 15 Mysteries represent To us, it seems daring and astonishing to write, in a set of 16
important moments in the life of Christ and the Virgin Mary, pieces, only 2 (the first and the last) in the normal G-r>-A-E
with dedicated descriptive Biblical texts telling the story. tuning for the violin. It could be said that these sonatas are for
During the Rosary processions, believers walked around a 15 different violins, such is the variety of sounds and coloure
cycle of paintings and sculptures that were placed at specific effected by the many tunings used.
points of a church, 'the Stations of the Cross', witb a series
Biber's mastery of scordatura is astonishing. The manuscript
of prayers to be recited at each station.
itself contains almost no mistakes. It is written as a kind of
In Biber's beautiful manuscript, each sonata is prefaced tablature so that you read it as if it is tuned in tbe normal way
with a small copper engraving depicting the corresponding a violin is tuned. Youfingerthings as tbey appear, not as tbey
sound. This takes concentration atfirst,but is actually very
Biber uses the devices that easy. It is reaUy like 'painting by numbers'. Beware: do not
use tbe higher positions on tbe lower strings.
each tuning offers as vehicles
for the story THE TUNINGS IN THE SORROWFUL MYSTERIES
become closer, tigbter and more strained as the storj- unfolds
At no.8 (The Crown of Thorns', tbe heigbt of tbe abuse)
Mystery. Biber dedicates tbese compositions to Maximilian Biber dgbtens up tbe G string to a D - which in itself is a
Gandolph von Khuenburg, who was botb Arcbbisbop of kind of agony« Some powerful s>-mbolism cannot be ignored.
Salzbui^ and Biber's employer. Biber -RTites in bis dedication: For instance, in no.l 1 ('The Resurrection-) Biber crosses tbe
'I bave consecrated tbe vêhole to the honour of tbe XV- Sacred D and A strings to create octave Gs and Ds: there is an 'X'
Mjisteries, whicb 3'ou promote so strongly.' botb at tbe top of tbe fingeiboard and tbe bottom He uses
Tbe Mysteries are divided into tbree sections of five the devices tbat eadi tuning offers, tbe open strings, chords
sonatas each; tbe coloratura, the heights and depths of varying ranges '
• Sonatas 1-5: Tbe "Joyful' Mysteries, wbicb tdil of tbe eariy of notes as vehicles for tbe story, affecting tb^ emotions
life ofJesus growing to adultbood contained in the text.
• Sonatas 6-10: Hie'Sorrowful'Mysteries, vdiicb bi^in Biber u s « conventional forms - for instance, dance forms
witb a Lament and end witb the Crucifixion ground basses, sonata-<:anzona, recitativo and canonic
• Sonatas 11—15: The 'Glorious' Mysteries, ^vbicb represent writing - as vebides for his musical meditations on th=
tbe miraculous, and truly mysterious events of tbe Mysteries. It is vital to understand tbese forms and be""
Resurrection and Ascension, up to tbe Crowning able to play each aria, dance and so on, in its intrinsic . u ie
of tbe Viigin Mary Tbe pomtoftbe piece is lost without îhar understanding '

SONATA NO.4 is the beart-w^arming Biber writes this most gorgeous

story of Simeon, whom God bad The scordamra demands tbat tbe
Qacona witb a very open tuning:
promised would not die until be bad sonata is mosdy played in fot position
A—D—A—D. Tbe ground bass is constant,
seen tbe Messiab. And tbere was Jesus, tbe violinist developing tbe tbeme, Çeware: we are accustome;d to bearing
eight days old, brougbt to tbe Temple tbe notes we see on tbe page, so we
wbicb is in two parts, witb eacb
for his circumcision where Simeon was can normally play what we bear from
variation in a 'division' form. Take
praying. Seeing Jesus, Simeon jumped memory, at least in part - but this is not
a look and you will see tbe note values
for joy. He knew the promise was possible witb scordatura. As for playing
in tbe first and second variations are
our own omaments, a pencÜ and pace
fulfilled and now be could die in peace. literally divided.
of manuscript paper are very fU'

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Lean gently on the firet note of the piece, before lightly lifting the second and third notes on up bows

Ciacona i r 1^ J J I *"
- J.

I The second beat of bar 9 is reminiscent of a heart l>eating

I Pay attention to the tessitura and articulation at bar 17

h J Try playing bar 25 as a series of dropping 3rds

B The rising 3rds at bar 29 require sens'rtivity to language and phrasing

there's no need to hold the minim for its full length in bar 35

ñ
B Touch the lower notes gen«otriy to mafce th«n

rrr
thetentfanes of qjproadi all require ofj<y gn the diree risiiç 4ths) can be
The poor keyboard player certainly has
tremendous ser.ii r expresed with an increase rfsound,
head-scratching moments too, woikii^
Forinstariœ.t-.- a Uititç erf* the second crotchet Q, the
out the harmony from the scordatura.
Toe language aU comes Ëx>m the is made up of two secoons of four bars
each. Lean ganh'on ibefirstnote ofbar bdbre the peifetitMrftheresohiticm.
right hand. It is ver.- difiSctilt, if not
one, dien lift the second and third notes Tlie second beat ofbar 9 (example 2)
in^possible, to firá this language using a
lightly las the dancereqirires)on up bows, is magicaL Biber gives us the same
•modem' bow, (1 certainlyfindthis to be note,firststopped, then open—the
so.) Using a Baroque bow, a convex stick touchii^ the strii^ with an exquisite
ddttcacy of taste. All this provides a kind combination becoming reminiscent
with less than half the hair of the modem of a heart beating.
bow, can be a revelation. Otherwise, of dsing anacrusis to the second bar,
which then dies through the quavras (.*). The two-iiote shirring must be carefully
it is useful to move the right hand up handled. Imagine the slur as a 'li^tura'—
the stick, to where some of the weight The response in the third can pohaps be
a darker, sad colour as the theme drops legato—tying the notes together in little
of the frog is takenfromthe hand. The bundles of two notes each, the secraid
to the resolution. In the second part of
variety of touch,fiexibiMty,agility, legato, ncxe decayit^ and endii^ just b ^ x e >
the theme, hope and the expectation
lifting the bow, the double-stops and

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u The sixth variation requires fast, agile, short and strong bow strokes
49

Dig deep into the string, paying attention to the deep, rich resonance of the sound

n
r r
In the fotirth variation, beginning at
bar 33 (ecample 6), the double-stops
below, plus the slurring, can be powerfully
'struck' and the third beats lifted
vigorously The crotchet at the beginning
of bar 35 is short as the bass-line
demands, and there's no need to hold the
minim („) absolutely full length when the
quaver leads to the next bar. At bar 36
there should be a glissando in the 3rds
I Biberï original manuscTfpt (which look like 4ths) - play it!
fT>t •I anforimage
Sonata no.4 begins witJ»
of the Presentation
The heart is beating in the fifth
\ f variation (exanipte 7), and the emotion
increasing. Touch the lower notes
generously to make them ring - it feels
The language all comes from great and sounds e\ en better.
Watch out in the sixth variation
the right hand (example 8), which requires agüe, short,
saong bow strokes. A quiver in the wrist,
d^ging into the string, will bring these
the next bundle of two notes b^ins. this music — of course v^^e need beauty concentrated demisemiquavere (.^) to life.
Each pair of notes takes its place in the of tone, but also an infinity of language The centre ofthe stoiy b^ins to unfold
sdione of the music Watch the direction in the right hand, from the very forrreful m the seventh variation («ample 9).
trfthe text (tessitura) whether it is rising or and dramatic to the most tender and There arerichtones, deep on the violin -
felling, and Esten to what it is saying and intimate. The listener is invited to p e h ^ the voice of the rabbi. The pla}^
how it makes you fed. This gK-es dues as attend, activ-dy drawTi into the sound. can t% deep into the string, drawing (not
to how to ^secute sudi passages. Hease, At bar 17, the start of the second Pressii^ the sound, with a keen ear to
no ¡X)rtato: l^ato is unequivocaL v^ariation, the note values divide once the depdi and wealth of the resonance
Small bovsr strokes, with an again, powerfiill)', with a stronger
imperceptible cur%Te in the sound of articulation (eacanifrfe 3). They should ProdîKed. This is followed byahesitant
and e3q)eaant triplet variation.
each stroke, using the middle of the be approached virtuosically, with
"Baroque' bow, the stick turned away The e^hth variation (example 10)
attention ¡said to the tesitura and
from the hand, provide the scope for seems to give the impression of Simeon
implicit articulation.
every 'word' and feeling in the musical prajTog in die Temple, looking up and
In the third ^aiation, bar 25 (acanipie 4)
text. Hold the bow lightly, fed its seeing the Holy I^niilj arrive.
has wiat looks like a series crffeltlr^
expression, its poetry, and allow it to noces—but it is so much mtae. Try it as Howquiedy is it possible to play the
tdl you how much to press and release. a saies ofdrcqjping 3rds—an infinity f^5'^«'™*^^î-:on (examptell)?
I like a low right elbow with a highish oftenderness and sadness - or perhaps Ífandinysdfholding iry breath (as the
wrist, responsive to the movement drops of vsater, of knowledge. nmac does thesame). hardly daring
of the arm. Use thefingersof the right Then at bar 29 (ocample 5), there is totoudi the string with thebow.Eadi
hand to 'paint', pulling and ptjshing hope in the rising 3rds. This has perfect bar« a new question, with an up bow
the bow rather than using it to priess balance and wisdom. Perhaps use short on the last note, phrased back ITien at
or lean on to the string with the 'high notes, again with sensitivity to language theftestoin bar 77, Simeon jumps for
elbow-flat wrist' style of modem times. and phrasing in the length, strength, ^?' 5 ^ ^"""^ ^ ^P'i«^)- The three-note
We don't need 'sound' as such in and lift. chords are played all in one stroke, ^ith
maximum hair on the string, mid-bow
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UU The eighth variation gives the impression of a prayer

65 S_ , 3

U l Play the three-note chords at the Presto in one stroke, with maximum hair on the string
73 Adagio piano

IU Bring out the lower voice in the tenth variation, using the upper third of the bow

"fe h m M• * * ' ' 't ' ' * "^

ñ^ -
=r . ^
ú¡ Slow, reluctant bow strokes will ^we a quieter v e r ^ m of the b ^ j n i w «

f. a . m 1. 1 1 •* J J J J Kj , ' _ "^ M '^ » ~ ^

> - 1 Ï • * , , * -^ ^ ' ,:* ^ ^ : :J 7» m ?« ^
fe 1• * fV '' 1 -^^ »».
H r

where it is mostflexible.Don't play too touching eacb arii^ well, tbe dbow In coodusioa, rest assured I ba^'e not
near the bridge or there win be a real droppirgfest. ftagoctöi diefiridifiil,ev^r present ground
scrunch. Give an extra up bow at tbe Tliis brings us back to tbe b^innii^ bass. Tbe ground, tbe baniKHiy, is the key
end of eacb ban two downs and an up (tbe end is a b^inning). Tbe .Adagio tbat unlocks tbe souL For tbe continuo
(example 13) signifies peace, ease and l^ayET, the eflêcts in tbe variatkÄis create
are required from bar 77, witb strengtb
calm in die knowled^ that tbe s t r u c k a desre to add mcxe (or fewer) notes—
and abandon. It sbould sound viEry short
is o^^er. All artists wiD plaj tbis in pohaps dxHTo-notes or kjEger, b^ger.
and percussive, more or less remaining
within tbe middle to low part of tbe bow. tbdr own individual vrsy: tecbnically;
This is the dimax of the piece: Simeon mastery of tone colour, bow speed As tbe vicrfinist, kam tbe bass-line
bas seen his Messiah, and now can die and articulation give us tbe tot* we and disccwo-bow to barmonise it ootbe
need to tdl tbefinalverse in tbis SKxy. violin, foDowirgtbe %ures (oumbiis
a happy man. alxwe tbe notes). Hay itfestand skjw,
Bring energj-,richnessand warmth to I recommend slow; rductant bow
strokes, to give a quieter, slower vasitm dance witb it, sii^ it—and aDow it to
the bowing of the semiquavers {ßj at tbe inftjrm your pkyii^ of tbe mdody.
start of the tenth variation (eacampfe 12). of tbe beginning.
In the last bar (and actually eveiywLiae) lift tbe dotcbets. .And ikil in love, ifywi
drawing out the lower voice in the shape bawm't already, witb tbis Oacona. •
of this arc, with the down bows near to there are minims in tbe alto. Simply
the middle of the upper third of die bow. touch the lower note to establish its
There is an arpeggiated chord in bar 92: presence, then let it go. The gbost of tbe
NEXT M K » f m BRITTEN^ VARIATIONS
establish afinebottom note, then go over harmony will always be there to baunt ON A THEME OF FRANK BRIDGE
to the top Ycry quickly and effordessly. tbe listener.

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