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Débora Halász Carlos de Praised by critics in her début recordings, the Brazilian Débora Halász is among the leading South American pianists of her generation. Winner of the most SEIXAS important competitions in her native country, she made her début with the São Paulo State Symphony (1704-42) Orchestra at the age of fifteen. Four years later the Critics Prize (APCA) named her the best soloist of the year for her interpretation of Rachmaninov’s Third Harpsichord Sonatas • 1 Piano Concerto. In 1989 she went with a DAAD scholarship to Germany, and since then has been invited to many European, South and North American Débora Halász Music Festivals and Concert Series. With her husband she established in 1993 the Duo Halász, for guitar and piano/harpsichord, arousing further critical acclaim. She has also partnered musicians such as Lavard Skou Larsen, Sebastian Hess and Patrick Gallois. Her ambitious recording of the complete piano music of Heitor Villa-Lobos, a project of some eight CDs, has been enthusiastically acclaimed by the international press. She has also recorded for BIS works by Ginastera, Shostakovich and Castelnuovo-Tedesco. Her passion for baroque music led her to a search for a historically accurate instrument for that repertoire, and she plays a historic copy of a Haas instrument, dated 1734, specially made for her. It is on this instrument that she has embarked on the recording of the complete works for harpsichord by the Portuguese baroque composer Carlos Seixas, a co-production between Naxos and Bavarian Radio.

The harpsichord used for this recording is a copy of a 1734 Hass Harpsichord, built by Lutz Werum in Germany.

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

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

8.557459 2 3 8.557459 557459 bk Seixas US 2/13/06 12:24 PM Page 4

Débora Halász Carlos de Praised by critics in her début recordings, the Brazilian Débora Halász is among the leading South American pianists of her generation. Winner of the most SEIXAS important competitions in her native country, she made her début with the São Paulo State Symphony (1704-42) Orchestra at the age of fifteen. Four years later the Critics Prize (APCA) named her the best soloist of the year for her interpretation of Rachmaninov’s Third Harpsichord Sonatas • 1 Piano Concerto. In 1989 she went with a DAAD scholarship to Germany, and since then has been invited to many European, South and North American Débora Halász Music Festivals and Concert Series. With her husband she established in 1993 the Duo Halász, for guitar and piano/harpsichord, arousing further critical acclaim. She has also partnered musicians such as Lavard Skou Larsen, Sebastian Hess and Patrick Gallois. Her ambitious recording of the complete piano music of Heitor Villa-Lobos, a project of some eight CDs, has been enthusiastically acclaimed by the international press. She has also recorded for BIS works by Ginastera, Shostakovich and Castelnuovo-Tedesco. Her passion for baroque music led her to a search for a historically accurate instrument for that repertoire, and she plays a historic copy of a Haas instrument, dated 1734, specially made for her. It is on this instrument that she has embarked on the recording of the complete works for harpsichord by the Portuguese baroque composer Carlos Seixas, a co-production between Naxos and Bavarian Radio.

The harpsichord used for this recording is a copy of a 1734 Hass Harpsichord, built by Lutz Werum in Germany.

8.557459 4 NAXOS NAXOS José Antonio Carlos de Seixas was both a virtuoso keyboard performer and a prolific composer with almost 100 authenticated harpsichord sonatas to his credit. His sonatas share something of the advanced form and colourful texture of his older contemporary and colleague, Domenico Scarlatti. This first disc of the complete Seixas Harpsichord Sonatas includes a number of sonatas, notably Nos. 19, 24 and 44, which call for considerable virtuosity in performance. 8.557459 Carlos de DDD SEIXAS (1704-42) Playing Time SEIXAS: 71:02 SEIXAS: Harpsichord Sonatas • 1 Sonata No. 36 in E minor Sonata No. 27 in D minor 1 Allegro 6:44 $ Allegro 2:42 2 [Allegretto in tempo di Minuetto] 1:29 % Minuet 0:57 Harpsichord Sonatas • 1 Sonata No. 19 in D major ^ [Allegro, ma poco e cantabile] 1:15 Harpsichord Sonatas • 1 3 Allegro 3:46 Sonata No. 42 in F minor Sonata No. 18 in C minor & Allegro 2:36 4 Largo 1:47 * Minuet: [Espressivo] 1:26 5 Allegro 1:38 Sonata No. 37 in E minor 6 Adagio 0:27 ( Allegro 1:30 7 Allegro 1:38 ) Adagio 1:06 Sonata No. 34 in E major ¡ Minuet 0:46 www.naxos.com Made in USA Booklet notes in English

8 Presto 2:14 Sonata No. 57 in A major &

9 Minuet 1:32 ™ Allegro 4:52 £ Sonata No. 44 in F minor Adagio 2:50 2006 Naxos Rights International Ltd. 0 Allegro 3:18 ¢ Allegro assai 1:40 Sonata No. 43 in F minor Sonata No. 10 in C major ! Moderato 2:55 ∞ Allegro 13:06 @ Minuet 0:52 § [Tempo di Minuetto] 2:10 Sonata No. 24 in D minor Sonata No. 50 in G minor # [Allegro] 1:57 ¶ Allegro 3:50 Débora Halász, Harpsichord A co-production between Naxos and Bayerischer Rundfunk - Studio Franken 8.557459 Recorded at the Festsaal des Reitstadels, Neumarkt, Germany, from 22nd to 24th April, 2003. 8.557459 Executive producer: Thorsten Preuß • Engineer: Herbert Frühbauer Recording supervisor: Thilo Grahmann • Booklet Notes: Keith Anderson Cover image: View of Coimbra, Portugal by James Holland (1799-1870) (Private Collection / © Christie’s Images / The Bridgeman Art Library)