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Leila Schayegh © Mona Lisa Fiedler

La Centifolia / Schayegh

Thursday 30 March 2023



La Centifolia

Eva Saladin, Violine

Daniele Caminiti, Theorbe, Laute

Jonathan Pesek, Violoncello piccolo

Johannes Keller, Cembalo

Leila Schayegh, Violine, Leitung



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



Nicola Matteis

Ricercata in C solfaut e Ciaccona (1676))

Tomaso Antonio Vitali

[Ohne Bez.] – Adagio Parte del Tomaso Vitalino

Giovanni Battista Vitali

Ciaccona a tre op. 7/3 (1682))

Arcangelo Corelli

Sonata a tre op. 2/12 »Ciacona« (1685))



Antonio Caldara

Chaconne B-Dur op. 2/12 für zwei Violinen und Basso continuo


Medienpartner Ö1 Club

Subscription series Originalklang


Presented by Wiener Konzerthausgesellschaft


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.

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