Leila Schayegh © Mona Lisa Fiedler
La Centifolia / Schayegh
Thursday
30
March
2023
19:30
Mozart-Saal
Performers
La Centifolia
Eva Saladin, Violine
Daniele Caminiti, Theorbe, Laute
Jonathan Pesek, Violoncello piccolo
Johannes Keller, Cembalo
Leila Schayegh, Violine, Leitung
Programme
»Ciaccona!«
Tarquinio Merula
La Ciaconna (Canzoni overo sonate concertate per chiesa e camera op. 12) (1637))
Antonio Bertali
Ciaccona à tre
Johann Heinrich Schmelzer
Ciaccona (1669))
Samuel Capricornus
Ciaccona a 2 (1662))
Johann Christoph Pez
Sonata XXX g-moll (1696))
Antonio Bertali
Chiacona (Kremsier-Fassung)
Henry Purcell
Sonata Nr. 6 g-moll Z 807 (1697))
***
Nicola Matteis d. Jüng.
Alia Fantasia
Anonymus
Ciaccona
Nicola Matteis
Ricercata in C solfaut e Ciaccona (1676))
Tomaso Antonio Vitali
Chaconne, Parte del Tomaso Vitalino
Giovanni Battista Vitali
Ciaccona a tre op. 7/3 (1682))
Arcangelo Corelli
Sonata a tre op. 2/12 »Ciacona« (1685))
-----------------------------------------
Zugabe:
Antonio Caldara
Chaconne B-Dur op. 2/12 für zwei Violinen und Basso continuo
Note
Medienpartner Ö1 Club
Subscription series
Originalklang
Links
https://leilaschayegh.com
Presented by
Wiener Konzerthausgesellschaft
»Ciaccona!«
The chaconne had made it: from the casual frivolous street dance of Latin America to the perfumed salons and opera houses of old Europe! Performers and listeners sweated there, too, of course; be it because of the enormous technical demands made on them by the variations over the ostinato bass model, which increased to the grotesque, or because of the considerable waste heat from the candlelight. In the 17th century, an extended chaconne (or ital.: ciaccona) usually formed the weighty capstone of every larger instrumental collection and even more so of every French opera. Even if the Swiss violinist Leila Schayegh in concert with her ensemble La Centifolia naturally cannot touch all stations of this ascent of the chaconne, the audience can expect a representative cross-section of its occurrence in Italian, English and German instrumental music of the Baroque. By the way, the ensemble's name proves to be particularly grateful: »La Centifolia« (»the hundred-petaled one«) is the name of a rose variety cultivated from the end of the 16th century, in whose beguiling fragrance the whole fabulous history of the Ciaccona resonates.