The Rosary Sonatas not only deal with mysteries, they are themselves a mystery. With this violin cycle made up of fifteen sonatas and a solo passacaglia, Heinrich Ignaz Franz Biber created one of the most interesting works in the entire violin repertoire. Even today, the work is not completely decrypted in terms of its significance in assignment of the sonatas to the sacred Christian mysteries. The composer carries the scordatura technique to the extreme. This technique utilizes the tuning of the violin’s four strings to intervals other than the usual, and in this way demands constant concentration from the performer. For French violinist Helene Schmitt, the Rosary Sonatas are not merely a violinistic extreme sport. For her, this work is a musical act of faith. In this performance, a sonic cosmos opens up within the sonatas, singing, speaking, whispering, and even roaring from hardly audible sound to pure heavy metal. The listener will not cease to be astonished. Helene Schmitt’s full devotion to this music is apparent. Her continuo group, which is made up of internationally known performers, provides just the right support and timbres.