Carlos SEIXAS (1704 - 1742)
	Harpsichord Concerto in A Major [8.06]
	Symphony in B flat Major [8.08]
	Overture in D Major [7.54]
	Harpsichord Concerto in G Minor (anonymous) [16.42]
	 Ferenc Liszt Chamber
	Orchestra/Janos Rolla
 Ferenc Liszt Chamber
	Orchestra/Janos Rolla
	Janos Sebestyen/harpsichord
	rec: 1982 (symphony/overture), 1984 (concertos).
	 STRAUS SP 4154
	[41.45]
 STRAUS SP 4154
	[41.45]
	
	
	 
	
	
	Carlos Seixas was a prolific Portuguese composer who wrote more than 700
	keyboard works. Many of these pieces were lost in the great earthquake of
	1755 that destroyed the musical library of the Royal Palace. However some
	one hundred keyboard sonatas, in addition to the works on this disc, are
	extant.
	
	Seixas's music belongs to the transitional period between baroque and classical
	music, and these works contain elements that recall the former and fit naturally
	in the latter. There is a predominance of strings, and a clear Mozartian
	sound in the symphony and overture. The music is light and lively, and marked
	by a strong rhythm reinforced by trumpets and timpani.
	
	The harpsichord concertos are more interesting, with an agreeable interplay
	between the harpsichord and the orchestra. They nevertheless recall some
	of the least interesting Mozart concertos. The second, anonymous harpsichord
	concerto is similar in form and style to Seixas's works, but it, too, lacks
	depth. Yet this disc is essentially a disappointment. The music sounds like
	many other composers of the period, without any uniqueness to set it apart.
	The recording is also poor - the sound of the orchestral works is flat, and
	there is little emotion to be felt from this performance. Both listening
	on speakers and headphones gives the same effect; there is little space in
	the recording, and all the instruments sound like a mass playing together
	in the centre.
	
	The harpsichord works are recorded slightly better, although the harpsichord
	itself sounds too weak in comparison with the orchestra, often drowned out
	by the other instruments (although this is too often the case with harpsichord
	concertos). This 41-minute disc is of little interest, other than to those
	especially interested in Portuguese music of the 18th century.
	
	A disappointing disc containing unremarkable orchestral music from the
	pre-classical period.
	
	Kirk McElhearn 
	
	
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