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Heinrich Ignaz Franz von Biber

Heinrich Ignaz Franz von Biber might have been the best possible violinist from the seventeenth century. He was also an extremely innovative composer whose functions — especially his sonatas for violin — are attaining brand-new prominence in the executing repertory. Biber was created in the Bohemian city of Wartenberg (today in the Czech Republic). Small is well known of his history or education, although he’s believed to possess examined in Vienna using the eminent German violinist Johann Heinrich Schmelzer. He started his profession playing violin and gamba in the aristocratic courts of Moravia, and may have got assumed a post in the music group belonging to Count number Karl of Liechtenstein-Castelcorno at Kromeriz. In 1670, he empty this placement without authorization, and became a member of the Kapelle in Salzburg, getting called Kapellmeister there in 1684. His brilliance and virtuosity over the violin produced Biber perhaps one of the most renowned soloists in European countries, and in 1690 Emperor Leopold I added the aristocratic prefix “von” to his name. He passed away at age group 59 in Salzburg. Biber’s compositions stand as a few of the most startlingly advanced music from the Baroque period. Biber’s manuscripts and magazines record violin improvisations in unparalleled details; in his Sonata Representativa, one will see Biber’s instrumental impressions of cuckoos, frogs, felines, and marching musketeers. They are supplied with a straightforward ground bass that delivers plenty of area for the soloist to loosen up and showcase, but are created at such a higher level of problems that few violinists try to get better at them. In his “Secret”, or “Rosenkranz” sonatas, Biber makes intensive usage of scordatura, violin re-tunings that modification the tonal personality of the device and make “difficult” figurations feasible. Biber was obviously influenced with the Musurgia Universalis, a theoretical function compiled by German Jesuit scientist and mathematician Athanasius Kircher. Initial released in 1650, Kircher attracts parallels between musical shades, planetary movement, and psychological areas to be. Biber’s music can be strongly affective psychologically, and in functions of the programmatic character, such as for example his orchestral piece Battalia, he tries to mix both a literal and subjective hearing knowledge. In Battalia, the orchestra must play many marching songs in various keys simultaneously — in a way like the music of Charles Ives — to point eager soldiers of varied regiments leading off to fight. A smooth, hushed passage by the end of the task represents the effect, a somber tableau of battlefield lifeless. Biber also made up several sacred vocal functions; many of these reside very easily within the mandatory strictures from the Chapel. A standout piece is usually his 15-component requiem, an expressive and harmonically exciting mass that eschews the sobriety of the written text and only glorious antiphonal choral textures. Along those same lines, musicologists established that the private, huge 53-component Missa Salisburgensis can be likely the task of von Biber.

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