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Heinrich Ignaz Franz BIBER

Missa Christi resurgentis

Sonata a 6 (c. 1673), Fanfares 1 & 4 from Sonatae tam aris quam aulis servientes (1676);

Sonatas I, III, V, VII, XI from Fidicinium sacro-profanum (1682);

 

Johann Heinrich SCHMELZER Sonata XII from Sacro-profanus concentus musicus (1662)

 

The English Concert & Choir/Andrew Manze

 

Biber was considered the greatest violinist of his day, so it is appropriate that Andrew Manze, directing The English Concert, stamps his particular brand of fire and virtuosity on the Missa Christi Resurgentis. This Easter mass was brought to light in Dr. James Clements’ recent millennium edition after languishing in a Czech monastery for three centuries. Following the Salzburg custom of interspersing the mass sections with instrumental works, the liturgical elements are replaced by instrumental music by Biber and Schmelzer. An early work, the mass bears Biber’s hallmark natural expressivity and Manze with the English Concert bring to it a ringing vibrancy.

 

This superb recording of one of the last of Biber's major works to be revived makes an appropriate epilogue to last year's tercentenary celebrations.

Few epilogues, however, come as magnificent as this exultant double-choir Easter Mass for voices, brass and strings, probably first performed in Salzburg Cathedral in 1674. Moreover, few recordings of richly-scored Baroque polychoral vocal and instrumental music have the clarity and definition, of words as well as notes, which give this disc its very special excitement and sense of immediacy.

Much of the credit for this must go to Andrew Manze's bold decision to use just one voice per part. His first-class singers bring all the necessary sumptuousness to sonorous climaxes, while also doing full justice to Biber's carefully detailed word-setting, from the cascading descending figures at "et in terra" to the stratospheric soprano duet at "et expecto resurrectionem".

Jubilant instrumental sonatas authentically separate the movements of the Mass, which, to complete the ceremonial effect, is framed by the trumpet duets that accompanied the archbishop's arrival and departure.

Elizabeth Roche, Telegraph

 

Harmonia Mundi HMU907397