John Holloway has contributed as much as anyone to modern-day recognition of Biber's status as one of the greatest of all violinist-composers. In his notes he draws attention to the difference in character between the sonatas in normal tuning and those that asl for scordatura or altered tunings, citing the latter (Nos 4 and 6 from the published set) as 'more intimate, more personal'. But actually this is the side which comes across most strongly in these performances anyway, at the expense of the extrovert maybe, but with no shortage of effective musical moments nevertheless; the point halfway through the Sixth Sonata when the violin re-emerges retuned and with a veiled new sound is managed with ghostly beauty.
With the violin resonating pleasingly through the many double- and triple-stoppings, and Holloway's bowing demonstrating a delicious lightness and freedom, these fundamentally inward, tonally aware performances also seem to have more of the smell of the 17th century about them than their current rivals (including Manze's, reviewed above),which push the violin's sound out a bit more. A respectfully resonant recording is a help here, as is the gentle but effectively unfussy continuo support of harpsichord and organ.
Anyone who already has the Manze need have no qualms about adding this one to their collection.