Seixas: Complete Works for Harpsichord, Vol. 1
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Carlos de Seixas (1704-1742) Harpsichord Sonatas, Vol. 1 Born in Coimbra in 1704, Jose Antonio Carlos de Seixas succeeded his father, Francisco Vaz,...
Carlos de Seixas (1704-1742)
Harpsichord Sonatas, Vol. 1
Born in Coimbra in 1704, Jose Antonio Carlos de Seixas succeeded
his father, Francisco Vaz, at the age of fourteen as organist of Coimbra
Cathedral, moving in 1720 to Lisbon, where, from the age of sixteen, he served
as organist to the Chapel Royal and the Patriarchal Cathedral. His early
achievement both as a virtuoso keyboard performer and as a composer established
him as one of the most important musicians in Portugal, and his eminence won
him a knighthood from King John V in 1738. Like his contemporary in Portugal, Domenico Scarlatti, he was prolific, not least in the production of keyboard
music, with some seven hundred pieces to his credit. It has been suggested that
the devastating earthquake of 1755 in Lisbon, thirteen years after the death of
Seixas, may have led to the destruction of many of his works. Very little of
his choral music, of which there was presumably some quantity, in view of his
position, survives, and no autographs of his keyboard sonatas, which are
preserved in copies only. A collection of eighty sonatas was edited by the late
Macario Santiago Kastner, a scholar to whom the study of earlier Portuguese
music is greatly indebted.
Domenico Scarlatti moved to Lisbon as mestre da capela about
the year 1723 and remained there until 1729, when he left for Spain, on the marriage of his pupil, the Infanta Maria Barbara, to the heir to the Spanish throne.
Seixas was, of course, much younger, and presumed by the Portuguese Infante Don
Antonio, younger brother of the King, to need instruction from Scarlatti, some
nineteen years the senior of Seixas. It was later reported that Scarlatti had
at once perceived the ability of the younger man, reporting to the Infante that
Seixas was one of the best musicians he had ever heard. Since there has always
been difficulty in dating the compositions of both Seixas and Scarlatti,
questions have arisen as to what influence each may have had on the other. They
certainly shared in a common keyboard tradition, derived, perhaps, from Italian
composers, but the matter must remain undetermined. Scarlatti, in a longer
career, developed his chosen genre rather further in his Esercizi, while
Seixas had a relatively short life, dying in Lisbon in 1742 at the age of 38.
Their sonatas share similarities of form, texture and keyboard range, characteristics
found in other keyboard works of the time, and they worked as colleagues until
1729.
In his introduction to his edition of eighty keyboard sonatas
by Seixas Kastner draws attention to the royal and aristocratic favour that
Seixas enjoyed and to his prosperity. Comparing his work with that of
Scarlatti, he contrasts the latter's career exclusively at court, composing
sonatas for his royal pupil and to entertain a court audience, and that of
Seixas, who was bound to supply keyboard pieces for a more varied clientèle. Some
of the sonatas of Seixas arose from his position as organist and the consequent
need for organ voluntaries and music for use during the liturgy, while others
were needed for his own concert use or for pupils with varied levels of
attainment. He absorbed the Italian influence that had made its way to the
Iberian peninsula, while remaining fully aware of the musical traditions of Spain and Portugal. Other features of his writing are attributed by Kastner to the range and nature
of the keyboard instruments for which he was writing.
Sonata No. 36 in E minor
, the numbering taken from Kastner's edition, opens
with an extended movement in binary form, each half of the movement repeated. Characteristic
features include the use of left-hand octaves, providing a solider bass than
the instruments for which Seixas was writing might have been capable, typical
keyboard figuration and much use of sequence. The sonata ends with an elegant Minuet.
Sonata No. 19 in D major
is a single-movement work calling for some
virtuosity, not least in the rapid crossing of hands which it demands. There
are wide leaps and considerable use of left-hand octaves in a piece that has
some of the features of a toccata in its figuration.
Sonata No. 18 in C minor
has some of the elements of a suite, at least in its
varied movements. It opens with an aria, marked Largo, followed by an
energetic binary Allegro, with both halves duly repeated. A brief modulating
Adagio is capped by a Giga, a dance that was the customary
conclusion of a suite or chamber sonata.
Sonata No. 34 in E major
opens with a lively Presto very much akin in
texture, form and figuration to the idiom familiar from Scarlatti. The second
movement, a Minuet, offers a contrast, a transparent dance-movement in
two-part texture.
Sonata No. 44 in F minor
, a single-movement work, calls for a measure of
virtuosity in performance, with its opening arpeggio figuration and later rapid
handcrossing. Once again considerable use is made of left-hand octaves,
reinforcing the bass line.
Sonata No. 43 in F minor
has a more lyrical upper part and an element of
chromaticism in a rising scale figure. The following Minuet in F major
has something of a martial air about it.
Sonata No. 24 in D minor
, with its opening repeated and ornamented key-note,
is a tempestuous piece, each section of the binary structure ending with
repeated notes and a final sinister appoggiatura.
Sonata No. 27 in D minor
has three movements. The opening Allegro starts
with a dash, its descending scale followed by a rising arpeggio, before
passages of rapid repeated notes and wide leaps in the accompanying lower part.
The Minuet offers an elegant contrast. It is followed by a vigorous triple
metre third movement.
Sonata No. 42 in F minor
starts with an imitated figure stated by the right
hand and answered in the left. There is considerable use of left-hand octaves,
and there is further use of the opening figure. The Minuet that forms the
second movement offers varied rhythms in its use of triplets.
Sonata No. 37 in E minor
starts with a characteristic first movement. This is
followed by an Adagio aria, its final dominant chord succeeded by a Minuet.
Sonata No. 57 in A major
opens with grandiose chords, introducing a movement
that finds room for wide leaps in the left hand and antiphonal figures, with a chromatic
element and use of thirds. Kastner singles out the movement for its richness of
texture and of harmony. The Adagio is in the unusual key of F sharp
minor, its right-hand melody accompanied largely by the octaves of the left
hand. This is followed by a cheerful A major final movement.
Sonata No. 10 in C major
has an extended first movement that develops the
material very considerably, making full use of thirds, characteristic
Scarlattian figuration, arpeggios, sequences, and chromatic elements. With both
parts of the movement repeated, this is the longest movement included here. Of
clearer texture, the Minuet makes a delicate pendant.
Sonata No. 50 in G minor
makes a feature of repeated notes and octaves and
chromatic progressions in a technically demanding movement, a virtuoso conclusion
to the present collection of Seixas sonatas.
Keith Anderson
Keyboard Sonata No. 36 in E minor (more info)
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I. Allegro - 6:42
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II. Allegretto in tempo di minuet - 1:29
Keyboard Sonata No. 19 in D minor (more info)
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Keyboard Sonata No. 19 in D major: Allegro - 3:44
Keyboard Sonata No. 18 in C minor (more info)
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I. Largo - 1:45
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II. Allegro - 1:42
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III. Adagio - 0:27
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IV. Allegro - 1:38
Keyboard Sonata No. 34 in E major (more info)
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I. Presto - 2:11
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II. Minuet - 1:32
Keyboard Sonata No. 44 in F minor (more info)
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Keyboard Sonata No. 44 in F minor: Allegro - 3:16
Keyboard Sonata No. 43 in F minor (more info)
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I. Moderato - 2:53
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II. Minuet - 0:52
Keyboard Sonata No. 24 in D minor (more info)
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Keyboard Sonata No. 24 in D minor: Allegro - 1:55
Keyboard Sonata No. 27 in D minor (more info)
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I. Allegro - 2:40
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II. Minuet - 0:57
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III. Allegro, ma poco e cantabile - 1:15
Keyboard Sonata No. 42 in F minor (more info)
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I. Allegro - 2:33
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II. Minuet espressivo - 1:26
Keyboard Sonata No. 37 in E minor (more info)
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I. Allegro - 1:28
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II. Adagio - 1:06
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III. Minuet - 0:46
Keyboard Sonata No. 57 in A major (more info)
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I. Allegro - 4:49
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II. Adagio - 2:50
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III. Allegro assai - 1:40
Keyboard Sonata No. 10 in C major (more info)
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I. Allegro - 13:03
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II. Minuet - 2:10
Keyboard Sonata No. 50 in G minor (more info)
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Keyboard Sonata No. 50 in G minor: Allegro - 3:47