Manze - Biber Mystery Sonatas

Andrew Manze and Richard Egarr perform Biber’s Rosary Sonatas for violin and continuo, on Harmonia Mundi.

In October of 2004, I first reviewed this collection, in a comparison to other sets of Biber’s 15 Rosenkranz Sonaten for violin.

Beznosiuk and Manze take different approaches to their recordings. While the first uses a variety of violins and continuo groupings (theorbo, bowed bass, harpsichord and organ), Manze uses one single violin and a single keyboard player (Richard Egarr) on harpsichord or organ. One track brings in bowed bass (sonata 12). Typically, performers use different instruments due to the requirements in these sonatas of re-tuning in the instruments in odd and curious ways. In sonata #13, “Decent of the Holy Spirit,” Manze’s violin sound is veiled and muted. Manze’s choice to use one instrument is an interesting one, for we get to hear, as closely as possible, the sound change the scordatura inflicts upon the instrument. As a bonus, Manze speaks and demonstrates the mistuning of strings in the ultimate track in his set.

Manze’s reading is clearly superior, if for nothing else, the sound quality of the recording. His sound isn’t as distant as Holloway’s, but he’s also not “inside my head” like the Beznosiuk recording is. While Manze’s reading of Sonata 13 is a bit slow for my taste, what’s most remarkable is the non-Manze type sound he has. I could probably pick-out Manze’s sound (on his Gagliano violin) any day of the week, but playing here on an earlier Amati instrument, we almost suspect there’s a different violinist behind the instrument.

I believe Manze set out to record these works with a major premise: that the audience/function of these works was to serve as a private devotion. These were introspective works to be contemplated and considered as prayers. His performance, therefore, is throughtful, careful, and considerate, rather than extrovert, or virtuosic.

Virtuoso skills are required, but he seems not to be celebrating virtuosity for the sake of playing in a histrionic fashion.

The recording is good, I still believe, but the premise used when peforming the works, I bethink, wrong. While the works could have been considered for private religious devotions, I think, like all of other Biber’s sonatas, to be virutoso expressions that ought to be celebrated as such. In other words, speed those puppies up ala shifting moods of fast and slow (ala phantasticus), and give us a real show.

Manze’s approach with Egarr is lean. While the collection has its moments, I ultimately prefer other collections as superior.