Генрих Игнац Франц Бибер: Жизнь и творчество австрийского композитора и скрипача.

Введение

Богемский австрийский композитор и скрипач (1644–1704)

Генрих Игнац Франц Бибер (крещён 12 августа 1644 года в Страже под Ральском – 3 мая 1704 года в Зальцбурге) – богемский австрийский композитор и скрипач. Бибер работал в Граце и Кромериже, прежде чем нелегально покинул своего работодателя, князя-епископа Карла Лихтенштейна Кастелькорна, и обосновался в Зальцбурге. Среди прочих произведений Бибер написал оперы, духовную музыку и музыку для камерного ансамбля. Он также написал одно из самых ранних известных произведений для солирующей скрипки – монументальную пассакалию из Мистерических сонат. При жизни Бибера его музыка была известна и подражалась по всей Европе. В конце XVIII века музыковед Чарльз Бёрни назвал его лучшим скрипичным композитором XVII века. В конце XX века музыка Бибера, особенно Мистерические сонаты, пережила ренессанс. Сегодня его произведения широко исполняются и записываются. Бибер не поступил на службу к Штайнеру, а вместо этого поступил на службу к зальцбургскому архиепископу Максимилиану Гандольфу фон Квенбургу. Композитор женился 30 мая 1672 года в летней резиденции епископа, дворце Хеллбрунн, недалеко от Зальцбурга. Его жена Мария Вайс была дочерью зальцбургского купца, горожанина и ремесленника Петера Вайса. У них было 11 детей, четверо из которых дожили до взрослого возраста. После этого он получил свой герб. Бибер умер в Зальцбурге в 1704 году. Его могила находится на Петерсфридхофе. Второе произведение, в котором Бибер исследовал приёмы скордуры, – Harmonia artificioso ariosa (1696), его последняя известная опубликованная коллекция инструментальной музыки. Она содержит семь партит для двух инструментов и баса континуо: пять для двух скрипок, одну для двух виол д’аморе и одну для скрипки и виолы. Шесть партит требуют настройки скордуры, включая партии для виолы и двух виол д’аморе; Бибер использует весь потенциал этой техники, включая все возможности сложной полифонии: некоторые произведения состоят из пяти частей, причем оба мелодических инструмента исполняют по две партии. Ни в одном другом камерном произведении Бибера не используются подобные приёмы, и единственными другими произведениями, использующими скордуру, являются две сонаты, включённые в Sonatae violino solo 1681 года. Эта коллекция включает восемь сонат для скрипки и баса континуо, все отмеченные Чарльзом Бёрни в конце XVIII века за блестящие виртуозные пассажи и сложную структуру. В отличие от Мистерических сонат и Harmonia, эти произведения состоят в основном из произведений в свободных формах (прелюдия, ария) или вариаций, а не танцев. Другие опубликованные коллекции инструментальной музыки Бибера – Sonatae tam aris quam aulis servientes (1676), Mensa sonora (1680) и Fidicinium sacro profanum (1682/3). Sonatae tam aris содержит сонаты в пять, шесть или восемь частей; некоторые из них используют только струнные инструменты, некоторые включают одну или две трубы. Mensa sonora – это набор из шести партит для одной или двух скрипок, виолы, виолончели и баса континуо, а Fidicinium sacro profanum включает в себя двенадцать сонат для одной или двух скрипок, двух виол и баса континуо. Наконец, рукописные источники включают в себя многочисленные другие произведения: фантазии, балеты, сонаты и т. д. Среди них – Battalia, программная «боевая» пьеса, предвосхищающая такие современные техники, как политональность и игра кол леньо, и Sonata representativa, типичное произведение XVII века, похожее на работы Вальтера и Фарины, имитирующее различных птиц и животных.

Heinrich Ignaz Franz Biber (bapt. 12 August 1644, Stráž pod Ralskem – 3 May 1704, Salzburg) was a Bohemian Austrian composer and violinist. Biber worked in Graz and Kroměříž before he illegally left his employer, Prince Bishop Karl Liechtenstein Kastelkorn, and settled in Salzburg. Among other pieces, Biber wrote operas, sacred music and music for chamber ensemble. He also wrote one of the earliest known pieces for solo violin, the monumental passacaglia of the Mystery Sonatas. During Biber's lifetime, his music was known and imitated throughout Europe. In the late 18th century he was named the best violin composer of the 17th century by music historian Charles Burney. In the late 20th century Biber's music, especially the Mystery Sonatas, enjoyed a renaissance. Today, it is widely performed and recorded. Biber never reached Stainer, however, and instead entered the employ of the Archbishop of Salzburg, Maximilian Gandolph von Kuenburg. The composer was married on 30 May 1672 at the bishop's summer residence, Hellbrunn Palace, just outside Salzburg. His wife Maria Weiss was a daughter of a Salzburg merchant, citizen and tradesman, Peter Weiss. Together they had 11 children, four of whom survived to adulthood. He then received his Coat of arms. Biber died in Salzburg in 1704. His grave is located in the Petersfriedhof. The second work in which Biber explored scordatura techniques is Harmonia artificioso ariosa (1696), his last known published collection of instrumental music. It contains seven partitas for two instruments and basso continuo: five for two violins, one for two violas d'amore, and one for violin and viola. Six of the partitas require scordatura tunings, including those for viola and two violas d'amore; Biber uses the full potential of the technique, including all possibilities for complex polyphony: some of the pieces are in five parts, with both of the melodic instruments carrying two. No other chamber works by Biber use such devices, and the only other pieces to use scordatura are two of the sonatas included in Sonatae violino solo of 1681. That collection comprises eight sonatas for violin and basso continuo, all noted already by Charles Burney in the late 18th century, for the brilliant virtuosic passages and elaborate structures. In contrast to both Mystery Sonatas and Harmonia, these works consist mostly of pieces in free forms (prelude, aria) or variations, rather than dances. Biber's other published collections of instrumental music are Sonatae tam aris quam aulis servientes (1676), Mensa sonora (1680), and Fidicinium sacro profanum (1682/3). Sonatae tam aris contains sonatas in five, six or eight parts; some of them only use string instruments, some include one or two trumpets. Mensa sonora is a set of six partitas for one or two violins, viola, cello, and basso continuo, and Fidicinium sacro profanum comprises twelve sonatas for one or two violins, two violas, and continuo. Finally, manuscript sources include numerous other pieces: fantasias, balletti, sonatas, etc. Among these are the Battalia, a programmatic "battle" piece which anticipates such latter day techniques as polytonality and col legno playing, and the Sonata representativa, another typical 17th century piece similar to works by Walther and Farina, which imitates various birds and animals. |headerstyle=background:#ccccff
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C. 1 – Missa Alleluja à 36
C. 2 – Missa catholica
C. 3 – Missa Christi resurgentis
C. 4 – Missa ex B
C. 5 – Missa quadragemisalis
C. 6 – Missa Sancti Henrici
C. 7 – Requiem à 15 in Concerto
C. 8 – Requiem ex F con terza minore
C. 9 – Laetatus sum
C. 10 – Nisi Dominus ædificaverit domum
Vesperae à 32
C. 11 – Dixit Dominus
C. 12 – Magnificat
Vesperae longiores ac breviores una cum litaniis Lauretanis (1693)
C. 13 – Dixit Dominus
C. 14 – Confitebor
C. 15 – Beatus vir
C. 16 – Laudate pueri, Dominum
C. 17 – Laudate Dominum
C. 18 – Magnificat
C. 19 – Dixit Dominus
C. 20 – Laudate pueri, Dominum
C. 21 – Laetatus sum
C. 22 – Nisi Dominus
C. 23 – Lauda Jerusalem
C. 24 – Magnificat
C. 25 – Dixit Dominus
C. 26 – Confitebor
C. 27 – Beatus vir
C. 28 – Laudate pueri, Dominum
C. 29 – Laudate Dominum
C. 30 – Laudate pueri, Dominum
C. 31 – Laetatus sum
C. 32 – Nisi Dominus
C. 33 – Lauda Jerusalem
C. 34 – Magnificat
C. 35 – Credidi
C. 36 – In convertendo
C. 37 – Domine probasti me
C. 38 – De profundis
C. 39 – Memento
C. 40 – Beati omnes
C. 41 – In exitu Israel
C. 42 – Litaniae Lauretanae
C. 43 – In Festo Trium Regium, Muttetum Natale
C. 44 – Litaniæ de Sancto Josepho
C. 45 – Lux perpetua
C. 46 – Huc poenitentes
C. 47 – Ne cedite
C. 48 – Quo abiit dilectus tuus (Offertorium in Festo 7 dolorum)
C. 49 – Salve regina
C. 50 – Stabat mater
C. 51 – Arminio, chi la dura la vince. Dramma musicale in three acts
C. 52 – Arien à 4
C. 53 – Arien à 4, for violin, 2 violas & continuo in A major
C. 54 – Ballettæ à 4
C. 55 – Ballettæ à 4 Violettae
C. 56 – Balletti à 4, for violin, 2 violas & continuo in G major
C. 57 – Balletti à 6
C. 58 – Baletti
C. 59 – Balletti lamentabili à 4
C. 60 – Balletto
C. 61 – Battalia à 10, for 3 violins, 4 violas, 2 violone, and continuo,(1673)
Harmonia artificioso ariosa: diversi mode accordata (7 partitas for 1 or 2 violins, 2 violas, 2 violas d'amore, and continuo in various combinations) (1696)
C. 62 – Partita, No. 1 in D minor
C. 63 – Partita, No. 2 in B minor
C. 64 – Partita, No. 3 in A major
C. 65 – Partita, No. 4 in E flat major
C. 66 – Partita, No. 5 in G minor
C. 67 – Partita, No. 6 in D major
C. 68 – Partita, No. 7 in C minor
"Mensa Sonora seu Musica Instrumentalis" (6 suites for violin, two violas, and continuo) (1680)
C. 69 – Pars, No. 1 in D major
C. 70 – Pars, No. 2 in F major
C. 71 – Pars, No. 3 in A minor
C. 72 – Pars, No. 4 in B flat major
C. 73 – Pars, No. 5 in E major
C. 74 – Pars, No. 6 in G minor
C. 75 – Serenada à 5 'Der Nachtwächter'
C. 76 – Trombet undt Musicalischer Taffeldienst à 4
C. 77 – Fantasia, for violin & continuo in D major
Fidicinium sacro profanum (12 sonatas for 1 or 2 violins, 2 violas, and continuo) (1683)
C. 78 – Sonata, for 2 violins, 2 violas & continuo No. 1 in B minor
C. 79 – Sonata, for 2 violins, 2 violas & continuo No. 2 in F major
C. 80 – Sonata, for 2 violins, 2 violas & continuo No. 3 in D minor
C. 81 – Sonata, for 2 violins, 2 violas & continuo No. 4 in G minor
C. 82 – Sonata, for 2 violins, 2 violas & continuo No. 5 in C major
C. 83 – Sonata, for 2 violins, 2 violas & continuo No. 6 in A minor
C. 84 – Sonata, for violin, 2 violas & continuo No. 7 in D major
C. 85 – Sonata, for violin, 2 violas & continuo No. 8 in B flat major
C. 86 – Sonata, for violin, 2 violas & continuo No. 9 in G major
C. 87 – Sonata, for violin, 2 violas & continuo No. 10 in E major
C. 88 – Sonata, for violin, 2 violas & continuo No. 11 in C minor
C. 89 – Sonata, for violin, 2 violas & continuo No. 12 in A major
Rosary Sonatas (for violin in scordatura and continuo and a passacaglia for violin solo) (also known as Mystery Sonatas and Copper Engraving Sonatas) (1676)
C. 90 – Sonata, for violin & continuo No. 1 in D minor, (The Annunciation)
C. 91 – Sonata, for violin & continuo No. 2 in A major, (The Visitation)
C. 92 – Sonata, for violin & continuo No. 3 in B minor, (The Nativity)
C. 93 – Sonata, for violin & continuo No. 4 in D minor, (The Presentation)
C. 94 – Sonata, for violin & continuo No. 5 in A major, (The Finding in the Temple)
C. 95 – Sonata, for violin & continuo No. 6 in C minor, (The Agony in the Garden)
C. 96 – Sonata, for violin & continuo No. 7 in F major, (The Scourging of Jesus)
C. 97 – Sonata, for violin & continuo No. 8 in B flat major, (The Crowning of Jesus with Thorns)
C. 98 – Sonata, for violin & continuo No. 9 in A minor, (The Carrying of the Cross)
C. 99 – Sonata, for violin & continuo No. 10 in G minor, (The Crucifixion)
C. 100 – Sonata, for violin & continuo No. 11 in G major,(The Resurrection)
C. 101 – Sonata, for violin & continuo No. 12 in C major, (The Ascension)
C. 102 – Sonata, for violin & continuo No. 13 in D minor, (The Descent of the Holy Ghost)
C. 103 – Sonata, for violin & continuo No. 14 in D major, (The Assumption of our Lady)
C. 104 – Sonata, for violin & continuo No. 15 in C major, (The Crowning of the Blessed Virgin Mary)
C. 105 – Passacaglia, for violin solo in G minor
C. 106 – Pastorella, sonata for violin & continuo in A major
C. 107 – Sonata, for violin & continuo in C minor
C. 108 – Sonata, for violin & continuo in E major
C. 109 – Sonata à 6
C. 110 – Sonata à 6 "Die pauern kirchfartt genandt", for 3 violins, 2 violas & continuo in B flat major
C. 111 – Sonata à 7, 6 Tromb, Tramburin con Organo Ao. 1668
C. 112 – Sonata 'pro tabula' à 10 for 5 recorders, 2 violins, 3 violas & continuo in C major
C. 113 – Sonata Sancti Polycarpi à 9
Sonatae tam aris quam aulis servientes (12 sonatas for 5–8 instruments [trumpets, strings, and continuo] in various combinations) (1676)
C. 114 – Sonata, for 2 trumpets, 2 violins, 2 violas & continuo No. 1 in C major
C. 115 – Sonata, for 2 violins, 3 violas & continuo No. 2 in D major
C. 116 – Sonata, for 2 violins, 3 violas & continuo No. 3 in G minor
C. 117 – Sonata, for trumpet, violin, 2 violas & continuo No. 4 in C major
C. 118 – Sonata, for 2 violins, 3 violas & continuo No. 5 in E minor
C. 119 – Sonata, for 2 violins, 2 violas & continuo No. 6 in F major
C. 120 – Sonata, for 2 trumpets, 2 violins & continuo No. 7 in C major
C. 121 – Sonata, for 2 violins, 2 violas & continuo No. 8 in G major
C. 122 – Sonata, for 2 violins, 2 violas & continuo No. 9 in B flat major
C. 123 – Sonata, for trumpet, violin, 2 violas & continuo No. 10 in G minor
C. 124 – Sonata, for 2 violins, 2 violas & continuo No. 11 in A major
C. 125 – Sonata, for 2 trumpets, 2 violins, 2 violas & continuo No. 12 in C major
C. 126 – Fanfare, for 2 trumpets No. 1 in C major
C. 127 – Fanfare, for 2 trumpets No. 2 in C major
C. 128 – Fanfare, for 2 trumpets No. 3 in C major
C. 129 – Fanfare, for 2 trumpets No. 4 in C major
C. 130 – Fanfare, for 2 trumpets No. 5 in C major
C. 131 – Fanfare, for 2 trumpets No. 6 in C major
C. 132 – Fanfare, for 2 trumpets No. 7 in C major
C. 133 – Fanfare, for 2 trumpets No. 8 in C major
C. 134 – Fanfare, for 2 trumpets No. 9 in C major
C. 135 – Fanfare, for 2 trumpets No. 10 in C major
C. 136 – Fanfare, for 2 trumpets No. 11 in G minor
C. 137 – Fanfare, for 2 trumpets No. 12 in G minor
Sonatae violino solo (8 sonatas for violin and continuo) (1681)
C. 138 – Sonata, for violin & continuo No. 1 in A major
C. 139 – Sonata, for violin & continuo No. 2 in D minor
C. 140 – Sonata, for violin & continuo No. 3 in F major
C. 141 – Sonata, for violin & continuo No. 4 in D major
C. 142 – Sonata, for violin & continuo No. 5 in E minor
C. 143 – Sonata, for violin & continuo No. 6 in C minor
C. 144 – Sonata, for violin & continuo No. 7 in G minor
C. 145 – Sonata, for violin & continuo No. 8 in G major
C. 146 – Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, 1669? C. 147 – Sonata, for solo violin in A major
C. App. 100 – Missa Bruxellensis
C. App. 101 – Missa Salisburgensis
C. App. 106 – Hymnus "Plaudite Tympana"
C. App. 111 – Harmonia Romana
C. App. 117 – Sonata à 3 "AB"
C. App. 118 – Sonata à 3 ("AB")
C. App. 119 – Sonata à 4 ("H. B.") C. App. 121 – Sonata Jucunda, for 2 violins, 3 violas & continuo in D major

Сомнительная приписка

Соната а 3 (для 2 скрипок и тромбона) (Подлинность авторства Бибера на раннем этапе его карьеры как начинающего композитора вызывает сомнения). Предположение о том, что эту сонату написал Бибер, указывает на Антонио Бертали как на возможного учителя. Бертали сочинил ряд подобных сонат для того же состава исполнителей. Эту сонату вполне можно было бы отнести к произведениям Бертали, если бы не более виртуозные скрипичные пассажи, чем в любых других его работах.