It's been a long time since we had a non-12ET example in the CCM. Though we've had examples which used extended techniques to de-tune instruments, passages, etc., in spots (notably Saariaho just a few months ago), the last one in which a so-called alternate tuning was used was an interesting Mozart recording which used several tuning systems, notably Equal; Prelleur, 1731; and 1/4 Comma Meantone. This month we return to the latter temperament. The temperament being quarter-comma meantone (a′ = 415) on this terrific recording is merely a footnote, however, in the story of these great pieces and their realization.

From a technical tuning standpoint, the temperament is hardly the most conspicuous or interesting thing about Biber's Rosary Sonatas (also known as the Mystery Sonatas). The really interesting thing is the overwhelming and brilliant use of scordatura (alternate tuning of the strings). The technique has been used for various reasons in many splendid pieces throughout music history, from the 5th of Bach's Cello Suites to Haydn's use in Symphonies #60 and 67, to Bartók's use in his glorious Contrasts. For Biber, who uses alternate tuning in an astounding 14 out of the 16 works in the collection, it is never a gimmick. Indeed, the scordatura is directly related to the affekten of each individual work.

More important than all of this, however, is that the works themselves are so wonderful. All of the tuning minutia would be meaningless at best if it were not the case. The pieces are moving, profound, brilliant, charming, and of the most varied sort. They are among the most virtuosic works in the literature, without parallel until one gets to the undisputed cornerstone of the literature, Bach's Sonatas and Partitas, though in certain spots the technical demands hint more at Paganini than Bach. One of the boons of period instruments is that the physical attributes of the instrument (probably more importantly, of the bow)–or replicas thereof–make certain types of passages more facile and often more articulate than with modern instruments, somewhat analogous to the more wooden, percussive sound one gets from a fortepiano than a modern Steinway. A case in point for all of the factors I've mentioned is the fourth sonata, "The Presentation of Jesus in the Temple," which happens to be a Ciacona in d minor (the same key and type of work as Bach's most famous solo violin piece, the Chaconne from the D minor Partita), with a tuning of a d′ a′ d″. Leah Gale Nelson, nicely complemented by Daniel Swenberg, Dongsok Shin, and Motomi Igarashi (on one sonata) plays with a beautiful, warm tone and with real expressive power in the numerous slow passages. She also can absolutely shred. Listen to her do both in this month's clip, a spellbinding, dazzling performance.

Incidentally, one of the producers of this recording is Grant Herreid, he of Ex Umbris, the subject of the very first CCM, nearly 16 years ago!