J.S. Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019 Leila Schayegh & Jörg Halubek

• 1 I. Adagio 03:15
• 2 II. Allegro 02:52
• 3 III. Andante 03:33
• 4 IV. Allegro 03:08
• 5 I. Andante 02:51
• 6 II. Allegro assai 03:02
• 7 III. Andante un poco 03:28
• 8 IV. Presto 04:02
• 9 I. Adagio 03:38
• 10 II. Allegro 02:46
• 11 III. Adagio ma non tanto 04:45
• 12 IV. Allegro 03:40
• 13 I. Siciliano: Largo 04:03
• 14 II. Allegro 04:18
• 15 III. Adagio 02:59
• 16 IV. Allegro 04:12
• 17 I. (Andante) 05:46
• 18 II. Allegro 04:23
• 19 III. Adagio 02:49
• 20 IV. Vivace 02:08
• 21 I. Allegro 03:27
• 22 II. Largo 01:38
• 23 III. Allegro 04:21
• 24 IV. Adagio 02:58
• 25 V. Allegro 03:20
• Sonata VI, bwv 1019a
• 26 I. Adagio 02:17
• 27 II. Cantabile, ma un poco adagio 04:20
• Total Runtime 01:33:59

Info for J.S. Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019

Two rising stars in today’s firmament of Baroque music performance, Leila Schayegh and Jörg Halubek, join forces to record one of the major challenges in their joint repertory: the six Bach Violin Sonatas, BWV 1014-1019. The collection’s title, Sei Suonate à Cembalo certato è Violino Solo, reflects the close partnership demanded of the violin and harpsichord players, with Bach moving away from the idea of continuo support for a solo instrument and constantly making new technical demands on the musicians and thereby approaching the concept of the triosonata. Completed by around 1725, most of these richly- characterful works combine the slow-fast-slow- fast sequence of movements found in Italian works and a cantabile tone with elements of German contrapuntal style.

The artistic partnership of Schayegh and Halubek, now in its tenth year, has seen them record chamber music by Jean-Marie Leclair, CPE Bach and Giovanni Mossi but the Bach Violin Sonatas represents their first joint recording for Glossa (Schayegh took part in the recent much-acclaimed recording of Caldara Trio Sonatas, Op 1 with Amandine Beyer for the label, as well as regularly having featured on many of La Risonanza’s Glossa releases). As Schayegh and Habulek mention in their shared booklet essay guiding the listener through the Violin Sonatas (and through the 12 represented keys which are also reflected in the set’s graphic design), they have added two movements from the earlier version of the final Sonata, BWV 1019a as a kind of cheerful and delightful encore.

“these two performers give us an exciting yet sensitive and generally tasteful interpretation of the sonatas … The bonus on the disc is the addition of the two alternative earlier movements of Sonata VI. On balance, this is a recording that is well worth the investment.” (Early Music Review)

Leila Schayegh, violin
Jörg Halubek, harpsichord

Recorded June 2015 in Achern (Alte Kirche Fautenbach), Germany
Engineered and produced by Markus Heiland

Leila Schayegh
belongs to a new generation of baroque violinists noticed for the richness of their musical sensitivity and for their research into the historical sources.

She obtains her soloist diploma with summa cum laude in 1999 at the Musikakademie Basel after studying with Raphaël Oleg. In 2002 she starts specializing in baroque violin with Chiara Banchini at the Schola Cantorum Basiliensis and obtains in 2005 her diploma in baroque music with summa cum laude. She receives in 2003 the first prizes of the Förderpreiswettbewerbs der Konzertgesellschaft in Münich, of the Alte Musiktreff in Berlin and of the Premio Bonporti, the first competition for baroque violin, as well as a scholarship from the pharmaceutical Swiss company Novartis to work one year at the Cité Internationale des Arts in Paris in 2005.

Leila Schayegh was for several years a member of L’Ensemble 415 of Chiara Banchini and plays as first violin for La Risonanza of Fabio Bonizzoni. She has been playing in concerts and recordings with René Jacobs, Andrea Marcon, Andreas Scholl, Maria Kristina Kiehr, Vaclav Luks, Friederike Heumann and Marcel Ponseele, and regularly works with her partners Jörg Halubek and Ilze Grudule. Her soloist concerts bring her to the Festival Alte Musik in Zürich, the Festival Internacional de Organo in León and the Bach Festival in Lausanne. She is invited as soloist in the concert series Musica e Poesia a San Maurizio in Milan, Le Nuove Musiche in Münich and to the Centre de Musique Baroque de Versailles. Further invitations bring her to Holland, Germany, Israel, Lettonia, the Ukraine and Lithuania. In September 2010 she takes over the baroque violin class at the Schola Cantorum Basiliensis as successor of Chiara Banchini.

Her research activities related to the musical practice study in particular historical styles of ornamentation, their techniques and influence on the emotional quality of the interpretation. This approach appears in her preface of a new edition of Franz Benda’s sonatas, and in her research on the interaction between music and dance of the 17th century at the Berne University of the Arts.

Her discography appears on the labels Glossa, Pan Classics, Zigzag Territoires, Ambronay Editions and Harmonia Mundi.

Booklet for J.S. Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019