Heinrich Ignaz Franz Biber: Harmonia artificioso-ariosa

Description

The Art of the Trio Sonata According to Biber The Salzburg chapel master Heinrich Ignaz Franz Biber described in Latin in 1696 his publication of 7 chamber suites ("Partien") for two string instruments and continuo as a "refined lyrical harmony." These trio sonatas are of a particular kind, as the two upper voices do not limit themselves to the typical imitations practiced in Italy at that time, but Biber allows the solo voices to express themselves freely. These trio sonatas are of a particular kind, as the two upper voices do not limit themselves to the typical imitations as they were practiced in Italy at that time. Biber showcases the solo voices in a new light through virtuosic interaction above the foundation of the bass, often in polyphony or chords. Added to this are new sound colors thanks to the use of the violin, viola, and viola d'amore in different combinations and the "tuning out" of the strings (skordatur) to achieve different tensions. This recording is the third installment of the series dedicated to Biber with Harmonie Universelle, following "Fidicinium Sacro-Profanum" (ACC 24357) and "Sonatae Tam Aris Quam Aulis Servientes" (ACC 24386).