Image suggesting the Resurrection Photo: PhotosForClass
Performed by Anne Loeser (baroque violin), Bethany Angus (organ)
The most unusual feature of this sonata is its scordatura. For the Resurrection in G major, Biber requires the four strings of the violin to be tuned to two G’s an octave apart and two D’s an octave apart. And he requires that the two inner strings be reversed, crossed over, which destroys the normal upward progression of the open strings and demands a whole new mental and physical approach to putting the right finger, in the right place, on the right string. The notation system Biber uses for this is simple in its logic but devastating in practice. And the symbolism of the crossed strings shouts at us across the three hundred and fifty years since The Resurrection Sonata was written. The two inner strings are crossed over between the tailpiece and the bridge, then they must be crossed back again at the other end, in the peg box. This gives two crosses between the strings. And a third cross is implied by the right angle between the bow and the strings. Three crosses - the Holy Trinity - or Christ and two thieves crucified on Calvary.
There are many temptations to read programmatic elements into the Mystery Sonatas, but it is impossible to ignore the echoes in the empty tomb in the opening Sonata of The Resurrection. And as if in answer to the question posed by the empty tomb, Biber then gives us a long elaboration on the old Latin hymn “Surrexit Christus Hodie”, Christ Is Risen Today. This is followed by a rather chorale-like concluding Adagio.
Programme note by Gregory Hill.
Producer/engineer: David McCaw
