Heinrich Ignaz Franz Biber: Complete Works

The following list is excerpted from Wikipedia

C. 1 – Missa Alleluja à 36
C. 2 – Missa Sancti Alexii
C. 3 – Missa Christi resurgentis
C. 4 – Missa ex B
C. 5 – Missa Quadragemisalis
C. 6 – Missa Sancti Henrici
C. 7 – Requiem à 15 in Concerto
C. 8 – Requiem ex F con terza minore
C. 9 – Laetatus sum a 7
C. 10 – Nisi Dominus a 2, violino e basso
Vesperae à 32
C. 11 – Dixit Dominus
C. 12 – Magnificat

Vesperae longiores ac breviores (1693)
C. 13 – Dixit Dominus
C. 14 – Confitebor tibi Domine
C. 15 – Beatus vir
C. 16 – Laudate, pueri, Dominum
C. 17 – Laudate Dominum
C. 18 – Magnificat
C. 20 – Laudate pueri
C. 23 – Lauda Jerusalem
C. 43 – In Festo Trium Regium, Muttetum Natale à 6
C. 44 – Litaniae de Sancto Josepho
C. 45 – Lux perpetua
C. 46 – Huc poenitentes
C. 47 – Ne cedite mentes
C. 48 – Quo abiit dilectus tuus a 8 (Offertorium in Festo 7 dolorum)
C. 49 – Salve Regina
C. 51 – Arminio, chi la dura la vince. Dramma musicale in three acts\

Instrumental music 

C. 52 – Arien à 4
C. 53 – Arien à 4, for violin, 2 violas & continuo in A major
C. 55 – Ballettae à 4 Violettae
C. 56 – Balletti à 4, for violin, 2 violas & continuo in G major
C. 58 – Balletti
C. 59 – Balletti Lamentabili à 4
C. 60 – Balletti
C. 61 – Battalia à 10, for 3 violins, 4 violas, 2 violone, and continuo,(1673)
Harmonia artificioso-ariosa: diversi mode accordata (7 partias for 1 or 2 violins, 2 violas, 2 violas d’amore, and continuo in various combinations) (1696)
C. 62 – Partia, No. 1 in D minor
C. 63 – Partia, No. 2 in B minor
C. 64 – Partia, No. 3 in A major
C. 65 – Partia, No. 4 in E flat major
C. 66 – Partia, No. 5 in G minor
C. 67 – Partia, No. 6 in D major
C. 68 – Partia, No. 7
“Mensa Sonora seu Musica Instrumentalis” (6 suites for violin, two violas, and continuo) (1680)
C. 69–74
C. 75 – Serenada à 5 ‘Der Nachtwächter’
C. 76 – Trombet-undt Musicalischer Taffeldienst à 4
Fidicinium sacroprofanum (12 sonatas for 1 or 2 violins, 2 violas, and continuo) (1683)
C. 78–89
Rosary Sonatas (for violin in scordatura and continuo and a passacaglia for violin solo) (also known as Mystery Sonatas and Copper-Engraving Sonatas) (1676)
C. 90 – Sonata, for violin & continuo No. 1 in D minor, (The Annunciation)
C. 91 – Sonata, for violin & continuo No. 2 in A major, (The Visitation)
C. 92 – Sonata, for violin & continuo No. 3 in B minor, (The Nativity)
C. 93 – Sonata, for violin & continuo No. 4 in D minor, (The Presentation)
C. 94 – Sonata, for violin & continuo No. 5 in A major, (The Finding in the Temple)
C. 95 – Sonata, for violin & continuo No. 6 in C minor, (The Agony in the Garden)
C. 96 – Sonata, for violin & continuo No. 7 in F major, (The Scourging of Jesus)
C. 97 – Sonata, for violin & continuo No. 8 in B flat major, (The Crowning of Jesus with Thorns)
C. 98 – Sonata, for violin & continuo No. 9 in A minor, (The Carrying of the Cross)
C. 99 – Sonata, for violin & continuo No. 10 in G minor, (The Crucifixion)
C. 100 – Sonata, for violin & continuo No. 11 in G major,(The Resurrection)
C. 101 – Sonata, for violin & continuo No. 12 in C major, (The Ascension)
C. 102 – Sonata, for violin & continuo No. 13 in D minor, (The Descent of the Holy Ghost)
C. 103 – Sonata, for violin & continuo No. 14 in D major, (The Assumption of our Lady)
C. 104 – Sonata, for violin & continuo No. 15 in C major, (The Crowning of the Blessed Virgin Mary)
C. 105 – Passacaglia, for violin solo in G minor
C. 106 – Pastorella, sonata for violin & continuo in A major
C. 108 – Sonata, for violin & continuo in E major
C. 109 – Sonata a 6
C. 110 – Sonata à 6 “Die pauern kirchfartt genandt”, for 3 violins, 2 violas & continuo in B-flat major
C. 111 – Sonata à 7, 6 Tromb, Tramburin con Organo Ao. 1668
C. 112 – Sonata ‘pro tabula’ for 5 recorders, 2 violins, 3 violas & continuo in C major
C. 113 – Sonata Sancti Polycarpi
Sonatae tam aris quam aulis servientes (12 sonatas for 5–8 instruments [trumpets, strings, and continuo] in various combinations) (1676)
C. 114 – Sonata, for 2 trumpets, 2 violins, 2 violas & continuo No. 1 in C major
C. 115 – Sonata, for 2 violins, 3 violas & continuo No. 2 in D major
C. 116 – Sonata, for 2 violins, 3 violas & continuo No. 3 in G minor
C. 117 – Sonata, for trumpet, violin, 2 violas & continuo No. 4 in C major
C. 118 – Sonata, for 2 violins, 3 violas & continuo No. 5 in E minor
C. 119 – Sonata, for 2 violins, 2 violas & continuo No. 6 in F major
C. 120 – Sonata, for 2 trumpets, 2 violins & continuo No. 7 in G major
C. 121 – Sonata, for 2 violins, 2 violas & continuo No. 8 in G major
C. 122 – Sonata, for 2 violins, 2 violas & continuo No. 9 in B flat major
C. 123 – Sonata, for trumpet, violin, 2 violas & continuo No. 10 in G minor
C. 124 – Sonata, for 2 violins, 2 violas & continuo No. 11 in A major
C. 125 – Sonata, for 2 trumpets, 2 violins, 2 violas & continuo No. 12 in C major
C. 126–137 – A due No. 1–12
Sonatae violino solo (8 sonatas for violin and continuo) (1681)
C. 138 – Sonata, for violin & continuo No. 1 in A major
C. 139 – Sonata, for violin & continuo No. 2 in D minor
C. 140 – Sonata, for violin & continuo No. 3 in F major
C. 141 – Sonata, for violin & continuo No. 4 in D major
C. 142 – Sonata, for violin & continuo No. 5 in E minor
C. 143 – Sonata, for violin & continuo No. 6 in C minor
C. 144 – Sonata, for violin & continuo No. 7 in G minor
C. 145 – Sonata, for violin & continuo No. 8 in G major
C. 146 – Sonata violino solo representativa (Representatio Avium), for violin & continuo in A major, 1669?
C. 147 – Sonata, for solo violin in A major
C. App. 100 – Missa Bruxellensis
C. App. 101 – Missa Salisburgensis
C. App. 106 – Hymnus “Plaudite Tympana”
C. App. 111 – Harmonia Romana
C. App. 117 – Sonata à 3 “AB”
C. App. 118 – Sonata à 3 (“AB”)
C. App. 119 – Sonata à 4 (“H.B.”)
C. App. 121 – Sonata Jucunda, for 2 violins, 3 violas & continuo in D major
Lost Vocal works
Applausi festivi di Giove (cantata) (1687)
Li trofei della fede cattolica (cantata) (1687)
Alessandro in Pietra (opera) (1689)
Trattenimento musicale del’ossequio di Salisburgo (cantata) (1699)
Sonata à 3 (for 2 violins and trombone) (Questionable attribution to Biber’s early career as a novice composer) The theory that Biber wrote this suggests Antonio Bertali as a teacher. Bertali wrote a number of similar sonatas for exactly the same scoring. This sonata could possibly be attributed to Bertali except that the violin passages are sometimes more fanciful than any other in Bertali’s works.

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