℗ 2022 Glossa
Released | April 15, 2022 |
Duration | 1h 06m 40s |
Record Label | Glossa |
Catalogue No. | GCD924701 |
Genre | Classical (Violin) |
Biber: Violin Sonatas
Lina Tur Bonet, Musica Alchemica
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
Violin Sonata III in F Major, C. 140
|
|||||
1.1
|
I. Adagio
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
1:51 | |||
1.2
|
II. Aria
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:38 | |||
1.3
|
III. Presto
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
3:01 | |||
1.4
|
IV. Variation
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
5:11 | |||
Violin Sonata V in E Minor, C. 142
|
|||||
1.5
|
I. —
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:20 | |||
1.6
|
II. Variation
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
5:15 | |||
1.7
|
III. Aria
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
3:58 | |||
Violin Sonata I in A Major, C. 138
|
|||||
1.8
|
I. —
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
3:11 | |||
1.9
|
II. Presto
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
0:44 | |||
1.10
|
III. Variation
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
5:33 | |||
1.11
|
IV. Finale
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
1:26 | |||
Violin Sonata VI in C Minor, C. 143
|
|||||
1.12
|
I. —
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
1:22 | |||
1.13
|
II. Passacagli
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
4:26 | |||
1.14
|
III. —
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:12 | |||
1.15
|
IV. Gavotte
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:19 | |||
1.16
|
V. Adagio
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
3:03 | |||
Violin Parthia No. 7 in C Minor "Artificioso-ariosa"
|
|||||
1.17
|
I. Praeludium
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:58 | |||
1.18
|
II. Allamande
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:11 | |||
1.19
|
III. Sarabande
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
1:13 | |||
1.20
|
IV. Gigue
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:06 | |||
1.21
|
V. Aria
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
2:00 | |||
1.22
|
VI. Trezza
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
0:48 | |||
1.23
|
VII. Arietta variata
Heinrich Ignaz Franz von Biber; Lina Tur Bonet; Musica Alchemica |
6:54 | |||
Digital Booklet
|
Heinrich Ignaz Franz Biber is the most dazzling figure among the violin virtuosos of the 17th century, comparable to a Paganini in the 19th, even though Biber did not travel around and spent most of his life permanently employed as a Kapellmeister in Salzburg. Biber's pieces are bursting with virtuoso elements, new techniques, bizarreness and endless ingenuity - the stylus phantasticus at the height of the age. His collection of violin sonatas, printed in Nuremberg in 1681, became a standard work and spread throughout Europe. Lina Tur Bonet has selected four of the eight sonatas for solo violin with basso continuo and added a parthia for two viola d'amore. The Spanish violinist Lina Tur Bonet is a pronounced specialist for virtuoso violin music of the early Baroque and has already recorded several albums with her ensemble Musica Alchemica on the Pan Classics label. Her complete recording of Biber's Rosary Sonatas was celebrated by critics and audiences alike, and she received the Diapason d'or in France for her album "La Bellezza". Her two albums with Vivaldi concertos and sonatas also received great acclaim. Biber's violin sonatas are now her debut on the Glossa label.
96 kHz / 24-bit PCM – Glossa Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -0.91 -4.13 to -0.70 | -16.89 -20.64 to -14.36 | -14.03 -18.30 to -11.50 | 10 7 to 12 | |
1 | I. Adagio | -0.71 | -16.91 | -13.8 | 9 |
2 | II. Aria | -0.72 | -18.12 | -15.4 | 9 |
3 | III. Presto | -0.71 | -18.00 | -14.5 | 11 |
4 | IV. Variation | -0.71 | -17.63 | -14.3 | 9 |
5 | I. — | -0.71 | -15.47 | -12.8 | 9 |
6 | II. Variation | -0.70 | -14.77 | -12.0 | 9 |
7 | III. Aria | -0.71 | -18.64 | -15.2 | 11 |
8 | I. — | -0.72 | -17.89 | -15.3 | 12 |
9 | II. Presto | -0.73 | -17.25 | -14.6 | 10 |
10 | III. Variation | -0.72 | -16.21 | -13.6 | 10 |
11 | IV. Finale | -0.72 | -18.66 | -15.3 | 11 |
12 | I. — | -4.13 | -20.64 | -18.3 | 11 |
13 | II. Passacagli | -0.71 | -15.68 | -13.2 | 9 |
14 | III. — | -1.46 | -19.88 | -17.4 | 10 |
15 | IV. Gavotte | -1.09 | -17.54 | -14.9 | 11 |
16 | V. Adagio | -0.70 | -15.10 | -12.3 | 8 |
17 | I. Praeludium | -0.70 | -14.36 | -11.5 | 7 |
18 | II. Allamande | -0.71 | -15.11 | -12.0 | 9 |
19 | III. Sarabande | -0.71 | -16.27 | -13.4 | 10 |
20 | IV. Gigue | -0.71 | -16.57 | -13.8 | 10 |
21 | V. Aria | -0.71 | -16.31 | -13.5 | 10 |
22 | VI. Trezza | -0.86 | -16.52 | -13.2 | 10 |
23 | VII. Arietta variata | -0.70 | -14.95 | -12.3 | 9 |