Harmonie Universelle, Florian Deuter, Monica Waisman - Heinrich Ignaz Franz Biber: Harmonia artificioso-ariosa (2026) [Hi-Res]

Tracklist

CD1
01. Partia I in D Minor: Sonata. Adagio - Presto - Adagio
02. Partia I in D Minor: Allamande
03. Partia I in D Minor: Gigue. Variatio I – Variatio II
04. Partia I in D Minor: Aria
05. Partia I in D Minor: Sarabande. Variatio I – Variatio II
06. Partia II in B Minor: Praeludium
07. Partia II in B Minor: Allamande. Variatio
08. Partia II in B Minor: Balletto
09. Partia II in B Minor: Aria. Presto
10. Partia II in B Minor: Gigue. Presto
11. Partia III in A Major: Praeludium. Allegro
12. Partia III in A Major: Allamande
13. Partia III in A Major: Amener. Presto
14. Partia III in A Major: Balletto
15. Partia III in A Major: Gigue
16. Partia III in A Major: Ciacona. Canon in unisono
17. Partia IV in E-Flat Major: Sonata. Adagio - Allegro - Adagio
18. Partia IV in E-Flat Major: Allamande
19. Partia IV in E-Flat Major: Trezza. Presto
20. Partia IV in E-Flat Major: Aria
21. Partia IV in E-Flat Major: Canario
22. Partia IV in E-Flat Major: Gigue. Presto
23. Partia IV in E-Flat Major: Pollicinello. Presto

CD2
01. Partia V in G Minor: Intrada. Alla breve
02. Partia V in G Minor: Aria. Adagio
03. Partia V in G Minor: Balletto. Presto
04. Partia V in G Minor: Gigue
05. Partia V in G Minor: Passacaglia
06. Partia VI in D Major: Praeludium. Adagio - Allegro
07. Partia VI in D Major: Aria. Variatio I - XIII - Finale. Adagi -Presto
08. Partia VII in C Minor: Praeludium. Grave–Presto
09. Partia VII in C Minor: Allamande
11. Partia VII in C Minor: Gigue. Presto
12. Partia VII in C Minor: Aria
13. Partia VII in C Minor: Trezza
14. Partia VII in C Minor: Arietta variata

In 1696, the Salzburg court conductor Heinrich Ignaz Franz Biber described his print of seven chamber suites (“Partien”) for two string instruments and basso continuo as “artful vocal harmony” in ornate Latin.

These trio sonatas are of a special kind, because the two upper voices are not limited to the typical imitations practised in Italy at that time, but Biber allows the solo voices to be played in a free, expressive manner. These trio sonatas are of a special kind, because the two upper voices are not limited to the typical imitations practised in Italy at that time. Instead, Biber allows the solo voices to shine in a different light in virtuoso interplay above the bass foundation, repeatedly in full-bodied polyphony or in chords. In addition, new timbres are created through the use of the violin, viola and viola d‘amore in various combinations and the ‘detuning’ of the strings (scordatura) to achieve different string tensions and thus give the instruments a sharper or softer sound.

This recording is the third installment of the Biber recordings with Harmonie Universelle, following “Fidicinium Sacro-Profanum” (ACC 24357) and “Sonatae Tam Aris Quam Aulis Servientes” (ACC 24386).