Biber already mentions in the dedication to his employer, the Prince Archbishop of Salzburg, that the violin must be tuned differently for each of the 15 sonatas. The so-called scordatura (detuning) was nothing new and was still in use well into the 18th century after Biber - think of the Suite No. V for violoncello by Johann Sebastian Bach. Biber himself had often used the technique before. However, there is no other work that uses it so consistently and with such a well thought-out concept. It culminates in Sonata XI, the Resurrection: the middle two strings are exchanged or crossed. Through Jesus' death on the cross, man is redeemed - more symbolism is hardly possible.
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