Heinrich Ignaz Franz Biber - Mystery Sonatas (Rosary Sonatas), n. 11

[@vibhavperi983]

It's quite funny how disconcerting the scordatura makes the score look in the most surreal, unearthly and beauteous parts of the piece- at 4:38- stunning music, with the score showing bars and bars of parallel fifths. Also, Surrexit Christus hodie has a lovely, fairly stable cantus firmus, and the violin offers such lovely counterpoint to it, divided neatly into sections of the first, second, and third species- yes, it's florid overall, forming a nice rhythmic arc, but this would make a splendid study of species counterpoint. Word, it even has well-done octave doubling in some sections.

[@lucamartin6825]

It would be helpful to have a notation system with the notes that sound and, in the violin part, the markings of the string that is to be played.

[@ana-ch3ie]

Why there are 3 violin parts?

[@korhonenmikko]

I think the first is the execution on the scordatura violin, the second is the realization at the actual pitch and the third is maybe a transcription for a violin in normal tuning?

[@vibhavperi983]

@@korhonenmikko Quite possible. However- both transcriptions work with the assumption that even though your strings are tuned normally, they have been swapped as you would for the given scordatura; the strings may have been tuned as E, A, D, and G, but they are positioned in E-D-A-G order. The second and third are identical, so it's quite unclear to me what the score intends to say here.

[@victorheredia7185]

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