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Klassiek - Verschenen op 29 januari 2016 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice
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Klassiek - Verschenen op 3 januari 2020 | Glossa

Hi-Res Booklet Onderscheidingen Diapason d'or - Le Choix de France Musique
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Concerten voor viool - Verschenen op 4 mei 2018 | Accent

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
Josef Mysliveček (1737-1781) also known as "Il Divino Boemo" (The Divine Bohemian) was one of the most celebrated opera composers in Italy in the 1770s. His instrumental works - symphonies, concertos, octets, quartets, and trios - were as popular as his vocal music. Certain features of his melodic style reflect his Bohemian origins, and Mysliveček's influence on contemporaries was significant. A close friend of the young Wolfgang Amadeus Mozart and a musical influence on him, Mozart described his character as "full of fire, spirit and life". All nine of the Mysliveček violin concertos that survive in complete form were probably written in a short period during the late 1760s and early 1770s when the composer maintained close contacts with the city of Padua and the composer and violinist Giuseppe Tartini. As a representative of Italian traditions that extended back to the early eighteenth century, Mysliveček’s violin concertos are all cast in three movements of the pattern ‘fast-slow-fast’. “From this music one can hear that the author was also a superb opera composer: the quickly alternating themes are well defined in character, whether sounding serious or boisterous, pleading or alluring, questioning or majestic, friendly or imperious. Figuratively, we find ourselves on the opera stage.” (Leila Schayegh) © Accent/Note-1
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Klassiek - Verschenen op 17 februari 2017 | Pan Classics

Booklet Onderscheidingen 5 de Diapason - 5 Sterne Fono Forum Klassik
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Concerten voor viool - Verschenen op 5 april 2019 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
With a quartet of violin concertos by Jean-Marie Leclair, Leila Schayegh continues her exploration of the instrument’s repertory, combining musical insight, virtuosic brilliance and historical understanding. Leclair, who grew up in Lyon and studied in Turin before moving to Paris (he held a short-lived official post at Louis XV’s court in the 1730s) produced solo sonatas (and duos) as well as his acclaimed concertos. In her booklet notes, Leila Schayegh, who currently teaches Baroque violin at the Schola Cantorum Basiliensis, comments on how Leclair – an outstanding violinist himself – was in thrall to the Italian instrumental style but was concerned that his music should not be played too fast; he was praised for his “netteté”, a combination of impeccable technique and musical perfection. This first volume in Schayegh’s projected series of recordings of the Leclair violin concertos embraces the Nos. 2 and 6 works from the two six-concerto series of Opp 7 and 10. The G minor concerto, Op. 10 No. 6, is frequently cited as being the highpoint of Leclair’s output. For this dazzling new exhibition of the Swiss violinist’s art, Schayegh – who plays a late-seventeenth-century Andrea Guarneri instrument – directs Basel’s La Cetra Barockorchester, which features Eva Saladin as its “konzertmeisterin” and Sonoko Asabuki as a further principal violinist (Leclair’s concertos often called for up to three soloists). © Glossa
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Duo´s - Verschenen op 14 september 2018 | Glossa

Hi-Res Booklet Onderscheidingen 5 de Diapason
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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Klassiek - Verschenen op 9 november 2009 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 1 januari 2013 | Pan Classics

Booklet Onderscheidingen 5 de Diapason
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Kamermuziek - Verschenen op 7 februari 2012 | Glossa

Booklet Onderscheidingen Diapason d'or
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Klassiek - Verschenen op 4 maart 2014 | Pan Classics

Booklet Onderscheidingen Diapason d'or
HI-RES€ 14,99
CD€ 9,99

Klassiek - Verschenen op 6 september 2019 | Glossa

Hi-Res Booklet
With her version of Vivaldi’s Four Seasons, Leila Schayegh continues her exploration of the violin repertory, always combining musical insight, virtuosic brilliance and historical understanding. Over the last years, the Swiss musician has become one of the leading violinists of her generation (and is helping the next one, thanks to her position as professor in the Schola Cantorum Basiliensis). On this dazzling new exhibition, Schayegh – who plays a late 17th-century Andrea Guarneri instrument – is joined by the fine and colourful ensemble Musica Fiorita, directed by Daniela Dolci. The opera composer Vivaldi is omnipresent in all of these four violin concertos, also thanks to the use of elements of Baroque theatre: the sounds of wind machines or bird whistles contribute to making this a delightful, fascinating and “different” version of one of the most recorded works of all times. The album also includes Vivaldi’s Follia (Sonata Op. 1 No. 12) and the Ciaccona from the Violin Concerto in D major. An essay by Schayegh herself complement a project which will be a pleasurable surprise for lots of listeners. © Glossa