Biber: Mysterien Sonaten / Pierot, Les Veilleurs De Nuit

$29.99
Format
Added to Cart! View cart or continue shopping.
BIBER Mystery Sonatas • Alice Piérot (vn); dir; Les Vielleurs de Nuit (period instruments) • ALPHA 38 (2 CDs: 119:44) In this re-release of a...


BIBER Mystery Sonatas • Alice Piérot (vn); dir; Les Vielleurs de Nuit (period instruments) • ALPHA 38 (2 CDs: 119:44)


In this re-release of a 2004 CD, Les Vielleurs de Nuit (Alice Piérot, violin; Marianne Muller, viola da gamba; Pascal Monteilhet, theorbo; and Elisabeth Geiger, claviorganum) took a free-spirited and poetic view of Biber’s Mystery or Rosary Sonatas , a strong contrast with Andrew Manze’s intensely spiritual one (Harmonia Mundi 907 321, 28:6); John Holloway’s tartly virtuosic one (Virgin Classics Veritas 59551, 14:6); Eduard Melkus’s strikingly dramatic one (Musical Heritage Society 524671, 22:4); and Monica Huggett’s earthier one (Gaudeamus 350 and 351, 28:3 and 28:6). Their continuo group, while small and fairly constant (Melkus’s ensemble varied in size and timbre to suit the dramatic situation), offers, in the claviorganum, a sort of built-in variety that other ensembles can achieve only by the use of organ and harpsichord. Its timbre, as in the “Crown of Thorns” Sonata (VIII) by itself offers dramatic commentary, the novelty of which may be especially convincing to those unfamiliar with the instrument.


Piérot introduces a wide variety of free tempos into the opening of the “Annunciation” Sonata (I); and although she maintains a steadier pace in the sonatas to come, her freedom here serves as a stylistic calling card for the entire cycle. In general, she produces a straightforward, unmannered, though somewhat nasal sound from her violin (or violins—not mentioning the makers, the booklet doesn’t even specify how many violins she’s employed for the cycle—usually the scordatura requires at least three—nor how long it took to make the recordings, which might provide a clue). Of her virtuosity, there can be no question: the flurries of rapid notes in the “Presentation” Sonata (IV) feature exceptionally clean articulation, and the rapid double-stopping in the “Finding” Sonata (V) sounds appropriately sonorous and virtuosic.


Pierre Pascal’s notes take an even weaker line than do many others concerning the Sonatas’ programmatic content: not only does he suggest, as has become common, that they probably don’t illustrate the Mysteries in any specific way, he suggests that the possibility that Biber may have adapted earlier compositions to his purposes shows how “anachronistic” our ideas of the Sonatas’ programs have become. Nevertheless, as in Melkus’s set, Piérot has clearly—and dramatically—marked the transition from the Joyful to the Sorrowful Mysteries. Of course, the appearance of dance movements (such as the Allemanda and Sarabanda in the “Scourging” Sonata, VII) may seem to diminish the intensity of the story line’s most agonizing episodes. The freedom so marked at the beginning of the “Annunciation” Sonata returns in the opening movement (marked Sonata) of the “Carrying of the Cross” Sonata (IX), though the succeeding Courente and Doubles return to dance-like regularity. The briskness of her opening passages in the “Crucifixion” Sonata (X) reinforces the effect, whether or not it’s pictorial; in the variations on its aria, Piérot explores a captivating expressive range, from the comfortingly lyrical to the disturbingly agitated.


In the opening of the “Resurrection” Sonata (XI), the work in which the violin’s two center strings cross over, Piérot once again takes a relaxed view of the printed metric structure; she adopts a stricter view of the hymn tune, with its eventual appearance in the octaves the scordatura facilitates. She begins the “Ascension” Sonata (XII) at a heart-quickening tempo, which introduces special urgency into the ensuing march, with its hunting-call motives. Piérot also begins the “Assumption” Sonata (XIV) with a highly personal, quasi-improvisational account of the Praeludium, and so expands the expressive envelope in her reading of the succeeding Ciacona as to elevate that movement more nearly to the level of Bach’s later masterpiece than even her performance of the “Guardian Angel” Passacaglia (XVI) approaches, at least if realization of expressive possibilities, hidden or otherwise, be taken as a criterion.


Throughout, gambist Marianne Muller converts the bass line into a frequent polyphonic dispute with the violin, increasing the intimacy of the dialogue while it clarifies its import. Listeners should make no mistake about it: the annotator who suggested that nobody before or after Biber has explored the violin’s capabilities so fully wasn’t far off the mark. Taking that suggestion to set a standard, Piérot’s performances approach the goal about as successfully as do the best of the others, including those by Manze, Huggett, Holloway, and, especially, Melkus. In fact, for those seeking a highly personal yet scholarly and disciplined account of the works, in clear and vibrant recorded sound, Piérot’s could be an attractive overall choice.


FANFARE: Robert Maxham


Product Description:

  • Release Date: September 01, 2007


  • UPC: 3760014190384


  • Catalog Number: ALPHA038


  • Label: Alpha


  • Number of Discs: 2


  • Composer: Heinrich Ignaz Biber


  • Orchestra/Ensemble: Les Veilleurs de Nuit


  • Performer: Alice Piérot, Élisabeth Geiger, Marianne Muller, Pascal Monteilhet