Biber: Rosenkranzsonaten 2 & 3

Biber: Rosenkranzsonaten 2 & 3
Anne Schumann (violin), Sebastian Knebel (organ)
Querstand VKJK 1506/1507. 45’10/63’09

CD 2. Biber: Rosenkranzsonaten VI-X; Pachelbel: Ciacona in d
CD 3. Biber: Rosenkranzsonaten XI-XVI; Buxtehude: Ciacona in e

These two CDs complete the 3-CD series of the Biber Rosenkranzsonaten. Anne Schumann and Sebastian Knebel have divided the work into its three sections (the ‘joyful’, ‘sorrowful’ and ‘glorious’ mysteries) and have chosen a different recording venue for each section, based on the organ in each church. This is a commendable approach; not least because it avoids the ubiquitous little box organs and features full sized church organs. These were far more likely to be used as a continuo instruments at the time, and create a different aural perspective to the music. The first CD was reviewed here.

Biber Pachelbel Rosenkranzsonaten 2 Anne Schumann QuerstandCD 2, the ‘Sorrowful Mysteries’ (Sonatas VI-X), are recorded in Kaltenlengsfeld, next door to Friedelshausen, where CD 1 was recorded, south of the Bach town of Eisenach in Thuringia. The organ dates from 1755 and has, for Thuringian organs, a rather unusual configuration with a Ruckpositive. It is positioned above the altar in what appears to be almost a separate space from the main church volume, beyond a low arch and in a small space – presumably this explains the configuration, which takes up less vertical space. The recording is made fairly close to the organ, but still includes the acoustic bloom from the rest of the space. The violin Continue reading

Rosenkranzsonaten 1

Rosenkranzsonaten 1
Anne Schumann (violin), Sebastian Knebel (organ)
Querstand VKJK 1423. 40’24

B
iber Rosenkranzsonaten I-V; Buxtehude: Passacaglia in d (BuxWV161)

Buxtehude Biber Rosenkranzsonaten I Anne Schumann Sebastian Knebel QuerstandFor this 3-CD series of the Biber Rosenkranzsonaten, Anne Schumann and Sebastian Knebel have divided the work into its three sections (the ‘joyful’, ‘sorrowful’ and ‘glorious’ mysteries) and have chosen a different recording venue for each section, based on the organ in each church – a commendable approach, not least because we hear a full size church organ used as a continuo instrument, rather than the silly little box organs so often heard. Continue reading