Every selection here is more or less indebted to the explorations of Biber's early mentors Schmelzer and Bertali, composers who began to push the limits of violin virtuosity into the realm of the exotic. For instance, the opening Pastorella gratuitously (or "shamelessly", as first violinist Kati Debretzeni puts it in the notes) pays homage to Schmelzer's earlier, already-renowned Pastorella (also included here for comparison). Pastiche aside, what's most intriguing about these early studies is how they anticipate Biber's later, more fully conceived compositions. The sonata in E major features the extravagant runs, dynamic contrasts, and sound effects that would inform his Sonata Representativa in A, and (to greater extent) his notorious Battalia. Though less imaginatively conceived, Biber's sonata in C minor, with it's lovely organ continuo, more than anticipates another of his most renowned and arguably most frequently recorded works, his "Rosary" or "Mystery" sonatas.

While many of the works here are first recordings, performing Biber requires a certain abandon, panache, and plenty of skill to fully justify his ideas. Although Ricordo has plenty of competition from such outstanding ensembles as Romanesca, Musica Antiqua Köln, Concentius Musicus Wien, Ars Antiqua Austria, and Le Concert des Nations, it compares remarkably well. Violinists Debretzeni and Penelope Spencer are particularly fine, deftly extracting every imaginative diabolical, fantastic, and bizarre nuance of Biber's youthful fertile imagination.

Although Linn indicates on the CD that this recording will sound better when played on one of its own CD players, it sounded absolutely outstanding on my modest HDCD-unready Arcam. Debretzeni's thorough notes are informative and entertaining. This is a grand undertaking and a very welcome addition to Biber's already substantial discography. Highly recommended!