Writing this review is somewhat like preaching to the converted. All who already are interested in 17th century programatic violin virtuosity won't hesitate in acquiring this wonderful new ECM CD. Another offering by longstanding champion of this repertoire John Holloway is enough to guarantee excitement among the ranks. It's those unfamiliar with this glorious music that need to be reached--and if you're in that category, this is your lucky day!

Johann Heinrich Schmelzer's Sonatae Unarum Fidium has had its share of fine recordings during the last few years. Romanesca's 1996 account on Harmonia Mundi not only shuffled the six movements but also split them in pairs of three to begin and end Schmelzer's Victori der Christen (the Victory of the Christians over the Turks) Sonata. Last month, the ambitious French label K617 offered another account where the movements again are scrambled and then interspersed with organ works of Schmelzer's contemporary Johann Heinrich Kerll. Holloway's account here is the least freewheeling of the lot in that he plays the sonatas unsplit and in numerical order. All three interpretations use different instrumentation; all three offer their own improvisatory insights into the character of the music; and I'm sure all three would have delighted this eccentric composer immensely. Comparisons, in turn, are superflous.

Holloway's passion for this music is especially telling in the Sonata IV, arguably the most famous movement of this collection. After what is probably the slowest organ continuo drone ever afforded Sonata IV's introduction, Holloway's violin deftly enters with equal slowness, fluency, and grace. Holloway takes great care to gradually develop the theme, allowing it to bloom with a wonderful stateliness and dignity. Andrew Manze, in his distinguished account with Romanesca, begins this sonata in a similar fashion, though he eventually undermines it with flashy dance improvisations. Again, given the interpretive freedom Schmelzer encouraged, both points of view are certainly valid and equally fascinating.

As usual, ECM's production is second to none. All three instrumentalists are nicely balanced in a somewhat dry natural acoustic. The well-designed packaging, including personable and informative notes by Holloway, aptly complements the worthiness of the music. For those unfamiliar with the genius of Schmelzer, here is your chance. I'm sure the initiated are already enjoying themselves.

--John Greene