Jolanta Sosnowska LIVE - Heinrich Schmelzer: Ciaccona in A

[@luciano310]

Di questa ciaccona esistono diverse versioni, tutte veramente belle e coinvolgenti: è una musica senza tempo, un classico che stimola e coinvolge le corde dell'emotività.

[@mikeg2924]

Beautiful!

[@allynemendescarvalho]

Exuberante.

[@rudrashakti108]

I love listening to this piece, and it's one of the best renditions of it I have ever heard. Thank you!

[@josechrist3948]

a performance of the highest level and what great composer

[@violineuniverselle]

The Ciaccona comes from the National Library in Vienna (Emperor's Leopold the 1st Collection). Many greetings.

[@pepponeverdi]

Wunderbar!

[@marcosPRATA918]

The violin sings patiently, as if spinning, weaving, this is baroque!

[@SantiagoGarcia-od5gr]

Una preciosidad de pieza musical. Magistral interpretación.

[@weile4u]

I haven't lived before I came across this perfect tune, it makes me happy. Great live performance.

[@sigurdm]

Great performers . Thanks !

[@tillaartbibi]

vyborne !!

[@sigurdm]

Waw , the continuo !

[@ggiamber]

Very beautiful interpretation. It is a piece I love. I know only two interpretations of it: that of Helene Schmitt and the yours; both amazing, particularly for the interpretation: that of Helene captures viscerally for the spaces of sensuality and femininity that the sound reveals, for the inexhaustible comparison of the bow against the strings, dispute that damps itself in the harmonic mix of the accompaniment instruments. (Continued at the next comment)

[@GuntherDebymusique]

Johann Heinrich Schmelzer (né vers 1623, à Scheibbs Autriche Mort en 1680 à Prague) Violoniste, compositeur et maître de chapelle autrichien de la période baroque. On est réduit aux conjectures quant à sa formation initiale ; ce qui est certain c'est qu'il fut membre de la Chapelle royale (Hofkapelle) de Vienne à compter de 1649. Il dirigea la musique instrumentale de l'empereur à partir de 1658 et en 1671, il devint vice-maître de chapelle de Léopold Ier. Celui-ci l'anoblit e 1673 et le nomma en 1679 maître de chapelle au décès de son prédécesseur. En 1680, toute la Cour quitta Vienne ou sévissait une épidémie de peste, pour s'établir à Prague. C'est là que Schmelzer mourut. Son influence fut considérable sur le développement de la sonate et de la suite. Sans les travaux de Schmelzer, les chefs-d'œuvre composés plus tard par son élève Heinrich Ignaz Franz Biber ou encore par Johann Jakob Walther n'auraient sans doute pas vu le jour. .

[@acrylup]

Great!

[@ggiamber]

Your interpretation raises itself to visions more detached by the ground context, I would say angelic. That I'm meeting also in other your pieces I have found on youtube. Touching the Corelli's sonata, fascinating all the others that I have lissened to. Now I am youra fan. A little note, related to the ciaccona, concerns the loss of focus in harmonic amalgam between violin and harpsicord especially in the fastest variations (cont. at the next comment).

[@alangormly7916]

The Amy broadbent

[@alangormly7916]

Amy broadbent

[@ggiamber]

Very beautiful the sound of your violin. What instrument do you play? Another curiosity, the one that has crossed my search with your name: I was looking for the score of the ciaccona. It was'nt the first time: in the market I had not found anything, either online and on other important sales points. Could you give me some suggestion? Hi

[@avelinachumacero3676]

Jolanta, tocas el violín de forma magistral, bellísima interpretación, felicidades, abrazo fuerte de una mexicana.

[@ShotgunKidX]

So if I were to write a letter they might be able to provide a copy?

[@alexeykosenkov3842]

Very strange accents, sometimes I perceive them as performance mistakes, not intentional pauses. For example, from 3:40 till 4:00 violin sound almost lost, it was absorbed by harpsichord. But it's great, that someone strives to play baroque music nowadays! Thanks for posting that!

[@davehshs651]

On a video medium, it's not LIVE without video.

[@alistairkewish651]

There is more than a hint of Irish music in this composition. The reason why?Both are modal. Which explains that intangible, yearning quality that links much modal music.With the coming of the 'new' century, as it were, the modes gradually disappeared as keys became more formalised, and dare it be said, more predictable?For my money I can appreciate both but prefer modalism, whether it be Rossi, Monteverdi, Sweelinck or the English school of keyboard and madrigalists. To name but a few. The list is a long one. Not enough space on here.Alistair

[@jamesstannus7506]

As a Scot this appeals to me for being so Scottish in line and "story"