[1] The Mystery Sonatas include very rapid passages, demanding double stops and an extended range, reaching positions on the violin that musicians had not yet been able to play.

[3] Each sonata corresponds to one of the fifteen Mysteries, and a passacaglia for solo violin which closes the collection, possibly relating to the Feast of the Guardian Angel which, at the time, was a celebration that took place on different dates near those of the rosary processions in September and October.

[7] In the Sorrowful Mysteries, Biber uses scordatura tunings that tone down the violin's bright sound, creating slight dissonances and compressing the range from the lowest to the highest string.

By restricting the range, the violin produces conflicting vibrations that contribute to the expression of tension in the suffering and despair from the Sweating of Blood through to the Crucifixion.

The newfound enthusiasm towards the Mystery Sonatas is evident in Eichler's account of Biber's scordatura usage: "Each new configuration is a secret key to an invisible door, unlocking a different set of chordal possibilities on the instrument, opening up alternative worlds of resonance and vibration.

"[10] He adds that "Manze makes the strongest impression, not only for the interpretive freedom and vitality in his account but also for the elegantly uncluttered arrangement in which he presents the music, with only keyboard accompaniment (and, on one occasion, cello)."

Eichler points out that the Rosary Sonatas are often over-interpreted and taken too literally considering the uncertainty of the original context and intention, and that this restricts the listener's chance to draw from a large variety of possible meanings.

[10] Manze himself explains that the tendency of modern performers to use a large bass section as accompaniment is counterproductive to "the music's raison d'être: to evoke an intimate, private atmosphere suitable for prayer and meditation".

[4] Eichler also suggests that the sonatas are best enjoyed when listened to from beginning to end, as a journey that is brought to life through the different varieties of sound and color that the scordatura lends to the instrument.

[10] The Australian chamber trio Latitude 37 performed the complete Rosary Sonatas at the inaugural Brisbane Baroque festival in April 2015.

[11] Also in 2015, Spanish violinist Lina Tur Bonet [de] released her own particular interpretation of the Mystery Sonatas arranged for the ensemble Musica Alchemica and basso continuo.