Heinrich Ignaz Franz von Biber (1644–1704) was a Bohemian-Austrian violin virtuoso and composer of the Baroque era. Born in Wartenberg, Bohemia (now Stráž pod Ralskem, Czech Republic), he likely received early musical training locally—possibly at a Jesuit gymnasium—before serving at courts in Graz and Kroměříž, where his talent as a violinist became evident.

In 1670, Biber moved—without official release—to Salzburg, entering the service of the archbishop. There, his career flourished: by 1679 he was deputy Kapellmeister, and in 1684 he became Kapellmeister and dean of the choir school. In 1690, Emperor Leopold I ennobled him as “Biber von Bibern,” and later he was appointed lord high steward.

Biber’s compositional output is remarkable for its variety and innovation. His sacred works include the monumental Missa Salisburgensis (1682), written for multiple choirs and ensembles placed around the cathedral, a hallmark of “Colossal Baroque” grandeur. He also composed operas (notably Arminio, circa 1690–1692), masses, vespers, and motets.

As a violin composer, he is best known for the Mystery (Rosary) Sonatas—a highly expressive cycle of 15 sonatas for violin and continuo, employing inventive “scordatura” tunings—and the concluding Passacaglia in G minor for solo violin, one of the earliest substantial solo works in the violin repertoire. His chamber piece Battalia à 10 (1673) stands out for its bold programmatic effects and experimental techniques.

Biber died in Salzburg in 1704. His legacy endures: once overshadowed, his works have enjoyed a resurgence in modern times, especially among early-music performers and scholars who value his virtuosic style and imaginative contrapuntal writing.