The Mystery Sonatas by Austrian composer Heinrich Ignaz Franz von Biber, believed to have been penned in the 1670s, remain unsurpassed for their virtuosity and extended use of scordatura, a unique tuning system that underscores different aural colours and timbres of the violin, thereby illuminating the pictorial themes of the Rosary – the processions devoted to major moments in the lives of Christ and the Virgin Mary – which Biber’s work depicts.

Singaporean violinist Alan Choo, the vibrant leader of acclaimed baroque ensemble Apollo’s Fire, headlines a dynamic and descriptive recording of the Mystery Sonatas, enhancing the scordatura with six different violins that require 15 individual tunings. He explains, “The use of a unique scordatura tuning for each sonata means that a violinist needs to use multiple violins if performing several of the pieces in the same week – each violin kept at the tuning of its respective sonata. Otherwise, the constant re-tuning of a violin would destabilize its tuning. I used a total of six violins in this recording. The personality of each instrument shines through.”

Joined by a chamber ensemble of his Apollo’s Fire colleagues, including founding director Jeannette Sorrell on harpsichord, Choo navigates Biber’s extended techniques with aplomb and devotion to the 15 programmatic sonatas which are compiled into three cycles – the Joyful Mysteries (the Angel Gabriel delivers the news to Mary that she will be the mother of the Messiah), Sorrowful Mysteries (Jesus’ agony, knowing he is about to be betrayed) and Glorious Mysteries (the Resurrection of Christ and his ascent to heaven) – and are crowned by the timeless finale, Passacaglia for solo violin.

Disc 1:
The Joyful Mysteries
Sonata No. 1 in D Minor “The Annunciation”
1. I. Praeludium
2. II. Aria (Allegro) – Variatio – Finale

Sonata No. 2 in A Major “The Visitation”
3. I. Sonata
4. II. Allaman
5. III. Presto

Sonata No. 3 in B Minor “The Nativity”
6. I. Sonata
7. II. Courente – Double
8. III. Adagio

Sonata No. 4 in D Minor “The Presentation of Jesus in the Temple”
9. Ciacona

Sonata No. 5 in A Major “The Finding of Jesus in the Temple”
10. I. Praeludium
11. II. Allaman
12. III. Guigue
13. IV. Saraban – Double

The Sorrowful Mysteries
Sonata No. 6 in C Minor “The Agony in the Garden”
14. I. Lamento
15. II. Adagio

Sonata No. 7 in F Major “The Scourging at the Pillar”
16. I. Allamanda – Variatio
17. II. Sarabanda – Variatio

Sonata No. 8 in B flat Major “The Crowning with Thorns”
18. I. Sonata: Adagio – Presto – [Adagio]
19. II. Guigue – Double (Presto) – Double II

Sonata No. 9 in A Minor “The Carrying of the Cross”
20. I. Sonata
21. II. Courente – Double – [Double II]
22. III. Finale

Sonata No. 10 in G Minor “The Crucifixion and Death of Jesus”
23. I. Praeludium
24. II. Aria – Variatio

Recorded at St. Paul’s Episcopal Church, Cleveland Heights, Ohio between November 19th, 2021 - May 16th, 2023, the first disc of the recording opens on the delightful The Joyful Mysteries, and first being Sonata No. 1 in D Minor “The Annunciation”: the ornate gossamer of Praeludium and the more spirited nature of Aria (Allegro) – Variatio – Finale, and then comes Sonata No. 2 in A Major “The Visitation”: and the sterner fare of Sonata, the focused Allaman, and then the playful Presto.

Along next is Sonata No. 3 in B Minor “The Nativity”: which itself opens on the cultured Sonata, then continues with the flirtatious Courente – Double, ending with the aching yearn found within Adagio, then comes Sonata No. 4 in D Minor “The Presentation of Jesus in the Temple”: and the all-embracing Ciacona, the piece culminating with Sonata No. 5 in A Major “The Finding of Jesus in the Temple”: and the gripping Praeludium, the delightful swirls and twirls that drive Allaman, and both the upbeat Guigue and the embodied Saraban – Double.

The next work brought forth is invigoratingly dutiful The Sorrowful Mysteries which opens on Sonata No. 6 in C Minor “The Agony in the Garden”: and the aching Lamento and then the focused Adagio, and next we get Sonata No. 7 in F Major “The Scourging at the Pillar”: the delicacy of Allamanda – Variatio and the stirring waltz within Sarabanda – Variatio.

Up next is Sonata No. 8 in B flat Major “The Crowning with Thorns”: which opens with the flourishing Sonata: Adagio – Presto – [Adagio]and finishes with the thriving Guigue – Double (Presto) – Double II, then we get Sonata No. 9 in A Minor “The Carrying of the Cross”: which itself opens on the delicacy of melody within Sonata, the pleasurable Courente – Double – [Double II], culminating on the blooming Finale, the final act being Sonata No. 10 in G Minor “The Crucifixion and Death of Jesus”: the sculptured Praeludium leading the way, closing on the profuse Aria – Variatio.

Disc 2:
The Glorious Mysteries
Sonata No. 11 in G Major “The Resurrection”
1. I. Sonata
2. II. Surrexit Christus hodie
3. III. Adagio

Sonata No. 12 in C Major “The Ascension”
4. I. Intrada
5. II. Aria Tubicinum
6. III. Allamanda
7. IV. Courente – Double

Sonata No. 13 in D Minor “The Descent of the Holy Spirit”
8. I. Sonata
9. II. Gavott – Guigue
10. III. Sarabanda

Sonata No. 14 in D Major “The Assumption of Mary into Heaven”
11. I. [Praeludium]
12. II. Aria – Aria II – Guigue

Sonata No. 15 in C Major “The Coronation of Mary as Queen of Heaven and Earth”
13. I. Sonata
14. II. Aria – [Variatio]
15. III. Canzon
16. IV. Sarabanda

Sonata No. 16 in G Minor “The Guardian Angel”
17. Passacaglia

The second disc opens on the majestic The Glorious Mysteries and its Sonata No. 11 in G Major “The Resurrection”: the simply delightful Sonata, the guided Surrexit Christus hodie and then the subtly-hued Adagio, and then comes Sonata No. 12 in C Major “The Ascension”: the first of the quartet being the quietly boisterous Intrada, the forthright Aria Tubicinum, the tender Allamanda, and finally the gently frisky Courente – Double.

Along next is Sonata No. 13 in D Minor “The Descent of the Holy Spirit” which opens on the emphatic Sonata, the confident Gavott – Guigue and ends with the somewhat sombre Sarabanda, and then comes Sonata No. 14 in D Major “The Assumption of Mary into Heaven”: and a distinctiveness found within Praeludium and the sweeping Aria – Aria II – Guigue.

The simply magnificent recording Sonata No. 15 in C Major “The Coronation of Mary as Queen of Heaven and Earth” is up next and opens on the impressive Sonata before bringing us the engaging stillness of Aria – [Variatio], the stirring flair of Canzon and the emotional Sarabanda rounds out the work, itself closing on Sonata No. 16 in G Minor “The Guardian Angel” and a rather grippingly sentimental Passacaglia.

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