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Leila Schayegh - Brahms : Violin Sonatas

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Brahms : Violin Sonatas

Leila Schayegh - Jan Schultsz

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The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa

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Brahms : Violin Sonatas

Leila Schayegh

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Violin Sonata No. 1 in G Major, Op. 78 "Regen" (Johannes Brahms)

1
I. Vivace ma non troppo 00:09:47

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

2
II. Adagio 00:06:21

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

3
III. Allegro molto moderato 00:08:07

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

Violin Sonata No. 2 in A major, Op. 100 (Johannes Brahms)

4
I. Allegro amabile 00:08:02

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

5
II. Andante tranquillo - Vivace 00:05:27

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

6
III. Allegro grazioso (quasi andante) 00:05:16

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

Violin Sonata No. 3 in D minor, Op. 108 (Johannes Brahms)

7
I. Allegro 00:07:57

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

8
II. Adagio 00:03:53

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

9
III. Un poco presto e con sentimento 00:03:05

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

10
IV. Presto agitato 00:06:12

Leila Schayegh, Violin - Jan Schultsz, Piano - Johannes Brahms, Composer

(C) 2018 Glossa (P) 2018 Glossa

Violin Sonata in A Minor "F-A-E" (Dietrich, Schumann, Brahms)

11
I. Allegro in A Minor (Albert Hermann Dietrich) 00:05:27

Leila Schayegh, Violin - Jan Schultsz, Piano - Albert Dietrich, Composer

(C) 2018 Glossa (P) 2018 Glossa

Descrizione dell'album

The violin sonatas of Johannes Brahms were the product of much self-critical reflection, and the three surviving works are from a composer mature in years. Composed around the same time as the Violin Concerto (No. 1), the Piano Trio in C Minor and the Cello Sonata No. 2 (Nos. 2 and 3), they also echo some of his songs, such as those written to poems by Klaus Groth. Into this Romantic atmosphere come new performances of the three works on Glossa, played by violinist Leila Schayegh (particularly awarded for her recordings of Bach, Caldara and Benda), teaming up here with pianist Jan Schultsz. Schayegh plays a copy of a period violin, whilst Schultsz uses an original 1879 Streicher instrument. The two players aim to recapture the performing tradition as the composer would have known it, and within which he would have intended his pieces to have been played. Schayegh and Schultsz worked with Clive Brown and Neal Peres Da Costa in their efforts to aim for “the spirit rather than the dead letter of the score” and they pay admirable notice of important interpretative questions for music of this time – and they provide an intuitive musical and emotional response to the lyricism of the first two sonatas and the darker-hued tones of the third, investing these late-nineteenth-century works. © Glossa

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