SOLO AND CHAMBER MUSIC
I am a violinist whose musical path grows from a strong classical foundation, spanning solo and chamber repertoire from Baroque and romantic masterpieces to contemporary creations. For me, the violin is a living voice, where tradition meets experimentation and each piece unfolds its own world. I enjoy discovering new possibilities of my instrument across genres, exploring textures, gestures, and expressive nuances.
Collaboration lies at the heart of my practice. I especially enjoy working with composers to bring new works to life, while also embracing existing repertoire with attention and care. Whether performing a timeless masterpiece or a piece being heard for the first time, I strive to bring each work vividly to life, blending respect for tradition with curiosity and exploration.
Hauch has no exact translation in English. It is a trace, touch, hint, tinge, soupçon, tang, wisp, or a breath of something.
It implies a suggestion or intimation of the thing: a shadow, an aura, a glimmer hidden beneath the surface.
Hauch is a solo study exploring pianissimo timbral nuances at the top of the lowest violin strings; tracing fragments of melody, drawn on a thread in and out of silence.
Surface, weight and touch of musical performance: the bow drawing the sound out of silence; the slightest differentiation of touch on the string; the expansion of the muscles between the shoulder blades; the player ́s in-breath preceeding the played tone...The fallible physical body behind the sound: feeling the weight of sound, exploring the essence of a timbre.
Written in Iceland by swiss composer Helena Winkelman, Ciaccona draws inspiration from Iceland’s fiery, ice-filled landscapes, evident particularly in its episode displaying flageolets, as well as from Iceland’s legendary hidden inhabitants, the Huldufólk (elves).
In groben Zügen is a chamber work for string quartet and electronics, exploring new colors, resonances, and subtle sonic nuances. This recording was made during the concert concluding our collaboration with the composer herself, Eva Reiter, at HKB in November 2024.
Composed as the second part of Domeniche alla periferia dell’impero, Seconda domenica is a chamber work for four instruments that pays homage to Gérard Grisey. The piece explores rich textures, subtle microtonal shifts, and intricate interplay between instruments, reflecting Romitelli’s signature blend of spectral thinking and expressive intensity. Despite its intimate ensemble, the work unfolds a wide range of colors and sonorities, bridging classical tradition and contemporary experimentation.
This performance of Dvořák’s iconic “Dumky” Trio was recorded at the Pomeranian Philharmonic in Bydgoszcz, Poland, during my bachelor studies at the Feliks Nowowiejski Academy of Music.
The ensemble captures the emotional richness and rhythmic contrasts of the work, blending Slavic folk melancholy (dumka) with expressive spontaneity and poetic dialogue between the instruments.
Aleksandra Jopek – violin
Dominika Chodakowska – cello
Marcin Wieczorek – piano
Agma Duo
Aleksandra Jopek, Marta Lucjan