Heinrich Biber Complete Violin Sonatas 1681

Sonata Number 1 in A Major, C. 138; Sonata Number 2 in D Dorian Mode, C. 139; Sonata Number 3 in F Major, C. 140; Sonata Number 4 in D Major, C. 141; Sonata Number 84 in E Major; Sonata Number 5 in E minor, C. 142; Sonata Number 6 in C minor, C. 143; Sonata Number 7 in G Major, C. 144; Sonata Number 8 in A Major, C. 145; Sonata Number 81 in A Major

Bojan Čičič (violin)
The Illyria Consort: Elizabeth Kenny theorbo; Siobhán Armstrong harp; Steven Devine harpsichord, organ.
Violin by Giovanni Grancino, Milan 1703
Delphian DCD34334 https://www.delphianrecords.com/

Following his triumphant Bach recordings and the critically acclaimed Walther Scherzi da violino, Bojan Čičić ventures into the uncharted territories of Heinrich Ignaz Franz Biber's 1681 violin sonatas—works that stand among the most audacious and inventive of the seventeenth century. This complete recording shows not just a bunch of interesting baroque pieces, but a deep look into what the violin could do at that time, thanks to Biber's groundbreaking scordatura techniques and bold harmonies.

Čičić's approach to these sonatas demonstrates the depth of understanding that has become his hallmark. As I have observed in previous reviews, he is a masterful and intuitive performer who researches his scores meticulously, uncovering both the character and historical context of his chosen composers. That scholarly rigour, combined with his virtuosic brilliance, illuminates every bar in this exceptional Delphian release. The recording quality itself deserves particular praise for its crystalline clarity, allowing each strand of Biber's intricate counterpoint to emerge with startling definition.

The composer's unorthodox tuning systems and bold harmonic language demand not only technical mastery but also an acute sensitivity to affect and sonority—qualities that Čičić possesses in abundance. His improvisatory instincts seem perfectly attuned to Biber's spontaneous spirit, while his command of layered textures reveals the sophisticated interplay between intellect, devotion, and instrumental theatre that lies at the heart of these works.

The Illyria Consort, under Čičić's direction, provides wonderful textural colour that showcases the multifaceted nature of Biber's imagination. The ensemble's contribution extends far beyond mere accompaniment; they become co-conspirators in unveiling the sonatas' restless invention and profound expression. The pacing and phrasing throughout are first-class, creating a thoroughly satisfying aural experience that balances scholarly authenticity with immediate musical communication.

For Čičić, these sonatas represent something deeply personal. He acknowledges that Andrew Manze's 1994 recording with Romanesca was instrumental in his own journey from mainstream classical performance to baroque specialisation—a transformation that has enriched the early music world immeasurably. One senses that this recording represents not just another addition to his discography, but a homecoming to the music that first ignited his passion for the period.

This complete traversal of Biber's 1681 collection stands as both a scholarly achievement and a work of considerable artistry. Čičić's unmistakable musical personality shines throughout, transforming what could have been a mere historical curiosity into music of immediate relevance and compelling beauty. Essential listening for anyone seeking to understand the adventurous spirit of seventeenth-century violin writing.