Biber was one of the leading composers of the Stile Representativa. This "representative style" flourished in the first half of the Baroque and reflects the depiction of extra-musical elements, from nature to human emotions even to historical events. Biber’s greatest achievements in this style were the Rosary Sonatas for Violin and Continuo that portrayed the various stations of the cross in a purely musical context. In these fifteen "Mystery" sonatas for violin and continuo he used an unusual method of tuning the violin -- called scordatura -- in very imaginative ways. Such tuning permits the execution of double-stops which would be impossible with regular tuning and gives the violin new tonal colors. These experimental achievements are rivaled only by the 20th century composer, Charles Ives, in brilliance and creativity.

Paul Hindemith once referred to Biber as the most important Baroque composer before Bach. This strong and confident statement shows the originality and influence Biber had on composers of his day and those who came after.

Although Biber is best known today for his violin works, particularly those featuring scordatura, his works for trumpet are equally innovative. The Sonata on tonight’s program is part of a collection of twelve works entitled Sonatae tam aris, quam aulis servientes (Sonatas as much for the altar as for the table). Published in 1676, the Sonatae tam aris were most likely written in Salzburg, but the collection’s existence in manuscript form in the library of Biber’s former employer has led to speculation that it may have been written earlier.