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Mensa Sonora, sonorous table; this concept was quite in vogue during the Baroque period. Biber himself used it more than once: his Sonata pro tabula was written for ten voices. One finds comfort in the idea one has, more often than not, of what a court musician should be: a simple provider of easily listening circumstantial music, usually to be heard in the background. In entertaining such an idea, we underestimate the true symbolic worth of the meal, as well as of the music itself. When Biber, in his dedication of the work to the Archbishop of Salzburg, says that his Mensa Sonora is “a noble jewel of Harmony”, he is not simply referring to his refined compositional work. In fact, in the great humanistic tradition, to listen to music while partaking of a meal facilitates the reunion of body and soul, fosters better understanding between guests, develops new partnerships, and expands conversational skills modelled on the subtle dialogue of the instrumental voicing. Harmony in diversity: that is the ideal that underlies the title Sonorous table. An ideal represented by the pomegranate, whose numerous inlaid seeds are indeed symbolic. The Italian Cesare Ripa, author of a compendium of emblems long considered to be the authority on the subject, attributes this fruit to be the allegorical representation of Concord.