这个名字恐怕对大多数中国爱乐者来说仍然是比较陌生的。但是比贝尔（也译毕伯）生前已经是整个神圣罗马帝国境内(基本上是现在的德国、奥地利、捷克全境以及匈牙利、波兰等的一部分)最著名的作曲家，到18世纪时就被认为是17世纪德国小提琴学派(与科莱里等代表的意大利学派相对而言)最伟大的代表。从巴赫以后，到整个浪漫派时期，比贝尔的名字主要是与他所做的难度极大而又充满天主教神学色彩的小提琴作品(如“神迹奏鸣曲”，也称“玫瑰经奏鸣曲”等)联系在一起，而他的其它器乐和声乐作品逐渐湮没无闻。直到20世纪后期兴起的对巴洛克时期以前的音乐的研究，特别是“本真乐器”运动的兴起，比贝尔作为巴赫以前的音乐大师的地位才慢慢重新树立起来。他的音乐把艰深的技巧、复杂的对位和强大的音乐想象力和表现力结合起来，从这个意义上来说，说比贝尔是巴赫的先驱也不为过。总而言之，我认为比贝尔的作品值得大力推荐。以下就介绍一些他作品的优秀录音。比贝尔的A大调安魂曲比f小调安魂曲相对要明朗一些，Savall的录音也是在萨尔茨堡大教堂录制的，教堂丰富的回响很好地增加了富丽堂皇的音效。巴塔利亚(Battalia)的录音听起来没有哈农库特的版本那么强调古怪的效果，但细微之处更显精妙。Orginally from Bohemia, H.I.F. von Biber (1644-1704) was one of the most influential composers of the 17th century. He lived almost all of his professional life at the Court of Salzburg; his reputation as a violonist and his musical compositions rapidly spread throughout Europe, making him one of the founding masters of the German violin school. “Causes and consequences” would be an apt subtitle for this CD. Battalia, composed in 1673, is a drama set to music. It consists of series of little tableaux threaded together by the action and narrated through highly original musical means which blend sound effects and popular influences. The Requiem was created in 1687 at Salzburg Cathedral. The work gives a general impression of tranquillity, assurance and victory; it is a requiem of joy and triumph for a Christian life well-lived, rewarded by the promise of Paradise. Recorded in the cathedral in which the Requiem was created, the impressive sound quality of this CD emphasises the magnificence of Baroque religious music, which was itself a reflection of both the Church triumphant and the sumptuousness of the princely Courts of the period.