Rosary Sonatas: No. 7 in F major ‘Flagelatio’ (The Scourging)-Elizabeth Wallfisch/Rosanne Hunt/Linda Kent
HQ16首《玫瑰经（神迹）奏鸣曲》（约作于1676年），比贝尔在使用高把位、新型弓法、多重双音、变格定弦，他走在帕海贝尔和巴赫的前面。他的音乐融合了意大利和德国的巴洛克风格。正是由于他的《玫瑰经奏鸣曲》，比贝尔才被人们重新认识。这套16首奏鸣曲也被称为《神迹奏鸣曲》（神迹是指耶稣基督和圣母玛丽亚的15件事迹，如耶稣的诞生、受难、圣母升天等）或《铜板雕刻奏鸣曲》（由于奏鸣曲的标题采用铜板雕刻装饰）。每一部奏鸣曲都采用不同的定弦以丰富小提琴的表现力从而能表达5件“欢乐神迹”（如升天）、5件“悲伤神迹”（如耶稣受难）和5件“光荣神迹”。“光荣神迹”从“复活奏鸣曲”开始到第15首，这时小提琴的中间两根弦要交叉，从而具有象征意义。最后的第16首是恢复标准定弦由小提琴独奏的帕萨卡里亚。在第15部奏鸣曲中我们可以听到帕格尼尼第24首随想曲的主题，可以肯定帕格尼尼正是从比贝尔这里获得了灵感，正像李斯特、勃拉姆斯和拉赫玛尼诺夫从帕格尼尼随想曲获得灵感一样。《玫瑰经奏鸣曲》是在比贝尔死后才出版的。虽然这是一部有关宗教的作品，但我们完全可以不用考虑其宗教的内涵，只感受其中的安详、悲悯、崇高和温情。
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Rosary Sonatas: No. 7 in F major ‘Flagelatio’ (The Scourging)-Elizabeth Wallfisch/Rosanne Hunt/Linda Kent歌曲下载
| 歌曲 | 歌手 | 专辑 | 时长 | 歌曲下载 |
|---|---|---|---|---|
| Rosary Sonatas: No. 7 in F major ‘Flagelatio’ (The Scourging) | Elizabeth Wallfisch&Rosanne Hunt&Linda Kent | Biber: Rosary Sonatas | 03:19 |
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