Ardebat vincentius: both P-Lf;
Gloriosa virginis Mariae;
Hodie nobis caelorum;
Sicut cedrus: all Vs;
Verbum caro, Em;
Dythyrambus in honorem et laudem Div. Antonii Olissiponensis, EVp
Ov., D, ed. in PM, ser. B, xvi (1969);
conc., A, hpd, str, ed. in PM, ser. B, xv (1969);
sinfonia, B , ed. in PM, ser. B, xvii (1969)
64 authenticated sonatas in P-Cug, La, Ivo Cruz private collection, Ln, ed. in PM, x (1965);
24 authenticated sonatas in Ivo Cruz private collection;
16 non-authenticated sonatas in P-Cug, La, Ln, ed. in PM, x (1965)
He isn't thrown by the left-hand octaves and right-hand runs of the D-Major Sonata, nor by the arepeggios, battery and echo effects of the first G-Minor Sonata. (The latter might be called a binary form sonata on Rameau's Rondeau, Les cyclopes . Though music seldom left the Iberian courts in those days, much came in, and Seixas surely must have heard Rameau's 1724 collection of pieces before writing this curious piece.). His tempos are judiciously chosen, with a wider range than the standard designation of allegro indicates. The only two opening andante movements in the collection, the second Sonata in A Minor and the F -Minor Sonata, are closer to allegretto, though perhaps the sheer length of the latter (it lasts nearly 7:45 on this release) and the lack of surviving autograph manuscripts led Brembeck to this decision. On the other hand, I have no problem with his use of borrowed time in several of the minuet movements that form pendants to the main sonata sections. One example will suffice: the short Minuet to the E-Minor Sonata with its strumming guitar chords moving between the hands would seem to call for this treatment, normally associated with the French Baroque, but here clearly possessing folk origins. Two instruments are used on this recording: a full-bodied instrument based on a French model designed by Blanchet in 1746, and a softer one with a sweet but burnished tone that imitates Merzdorf harpsichords of the early 1700s. There are no register changes within any given piece, and sadly, no information provided about the instruments other than this. Curiously, the producers have chosen to place most of the sonatas using the Merzdorf harpsichord towards the end of the program; only one occurs in the first eight selections (two out of the first 14 cuts on the album). A certain degree of aural fatigue occurs, despite the fascinating material. The liner notes are generalized but effective, while the sound is close, crisp, and rich in overtones. As Seixas's 300th birthday occurred last year, would it be too late to hope that this might be turned into an integral series? Regardless, it's well worth the purchase.
Barry Brenesal (source/font: aquí)
Gaudiu i compartiu!