José António Carlos de Seixas (Coimbra, 11 June 1704 - Lisbon, 25 August 17… Read Full Bio ↴José António Carlos de Seixas (Coimbra, 11 June 1704 - Lisbon, 25 August 1742) was a Portuguese composer, the son of the cathedral organist, Francisco Vaz and Marcelina Nunes.
When he was fourteen, he succeeded his father as organist in 1718 and two years later moved to Lisbon, where he gave harpsichord lessons and met Domenico Scarlatti, who lived in Portugal, from 1721 to 1728. It is claimed that when the king's son, Dom António, arranged for Scarlatti to give Seixas harpsichord lessons, Scarlatti replied that it was Seixas who should give him lessons. Seixas later became organist in the court chapel and Lisbon cathedral as well as court composer. He was knighted in 1738 by John V of Portugal.
Much of his work was destroyed in the earthquake which devastated Lisbon in 1755. Only three orchestral pieces and around 100 keyboard sonatas survive, plus a handful of choral works for liturgical use (much more conservative than what one would expect from his instrumental music).
Macario Santiago Kastner published collections of the sonatas in Portugaliae Musica.
When he was fourteen, he succeeded his father as organist in 1718 and two years later moved to Lisbon, where he gave harpsichord lessons and met Domenico Scarlatti, who lived in Portugal, from 1721 to 1728. It is claimed that when the king's son, Dom António, arranged for Scarlatti to give Seixas harpsichord lessons, Scarlatti replied that it was Seixas who should give him lessons. Seixas later became organist in the court chapel and Lisbon cathedral as well as court composer. He was knighted in 1738 by John V of Portugal.
Much of his work was destroyed in the earthquake which devastated Lisbon in 1755. Only three orchestral pieces and around 100 keyboard sonatas survive, plus a handful of choral works for liturgical use (much more conservative than what one would expect from his instrumental music).
Macario Santiago Kastner published collections of the sonatas in Portugaliae Musica.
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Symphony in F major K. 41: Adagio
Carlos Seixas Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
@calefonxcalectric
In the Overture in D major for strings, oboes, horns, trumpets, timpani and continuo (published by P. Salzmann in ¨Portugaliae Musica¨ vol. XVI, Lisbon 1969), Seixas breaks away from Italian models to show his knowledge of the ¨French style¨ as found in the orchestral suites of Lully, Rameau, Telemann and Händel.
The first movement opens in French Overture style characterizing itself by the use of oboes, trumpets and timpani. Both the central movements have the same instrumentation (strings, two horns and continuo) and are farther linked by their inherent harmonic function which passes from the relative minor to the dominant of the main key. Here too the last movement is a minuet and the darker horns give way again to the instrumentation of the opening movement. The wind section here produces a colourful contrast of timbre with the strings.
In many of his works, Seixas´ style shows elements that belong to the transitional period between the Baroque and the Classical in music; this is not, however, the case in his Concerto in A major for harpsichord and string orchestra where the musical language is clearly Baroque. As evidence for this we have the concerto form employed for the first movement, tipically divided into seven sections; the thematic unity of this same movement; the harmonic characteristics of the slow movement; and the Gigue-like dance patterns of the last movement. Apart from a particular sensitivity as regards formal proportions, this concerto also shows masterly use of the harpsichord; we should, however, also, allow for the possibility of the solo part being played on the chamber organ - a common practice at a time when there was very little difference between the various members of the keyboard family.
It is fairly unlikely that Carlos Seixas should had known the harpsichord concertos of Johann Sebastian Bach or the organ concertos of Georg Friedrich Händel written after 1730 and 1735 respectively; thus the originality in the conception of Seixas´ concerto serves all the more as proof of the brilliant creativity of this Portuguses composer.
The concerto for harpsichord and strings with continuo in G minor (published by G. Doderer, Heidelberg 1979) bears no indication of its composer; in contrast to the thorough homogeneity of Seixas´ concerto, this work is characterized by the experimental nature of the solo part. Certain details seem to indicate an affinity with the school of Padre Gianbattista Martini in Bologna like, for instance, the thematic material derived from perfect triads, the use of French overture-type rhythms and their inversion, not to mention the way in which the second movement has no solo part. Certain common characteristics both as regards the form and the thematic content incline us to believe that the Concerto in G minor was directly linked to the musical circle of the Portuguese master. There is no doubt that the A major Concerto was used as a model for thematic material of both first and last movements. Quite apart from this, though, the deeply Portuguese expression which we find in this concerto clearly proves that it came from a school of musicians influenced by Carlos Seixas. Consequently, we may say that the Concerto in G minor was written around 1750/60.
Gerhard Doderer
The Ferenc Liszt Chamber Orchestra
The Ferenc Liszt Chamber Orchestra plays a significant role in the musical life of Hungary, giving some 30 to 35 concerts a year in Budapest and provincial towns. Included in their repertoire are owrks from almost all periods of the history of music, from Monteverdi, through Bach, Vivaldi, Mozart and the Romantics, to contemporary music.
The orchestra´s high standards are borne out by a great number of radio and gramophone recordings. They have won Grand Prix du Disque in Paris on three occasions and twice captured the ¨Disc of the Year¨ award in Hungary.
Their tours have regularly taken them to almost every country in Europe, and they have appeared at major festivals such as Santander, Montreux, Prades, Edinburgh and Helsinki. Their first overseas tour in 1975 was a tremendous success, and has since brought concert bookings in more than 150 cities in the United States and Canada. At the beginning of 1981 they were embarking on a fourth North American tour of nine weeks. In 1979, the orchestra made its debut in Japan, with a month´s tour that included concerts in several large cities, and two appearances in Tokyo.
A considerable part in developing the orchestra was played by Frigyes Sändor, who was Artistic Director until his death in 1979.
The Ferenc Liszt Chamber Orchestra consists of 16 strings and a harpsichordist. Leader János Rolla (1944) a founding member of the orchestra and one of Hungary´s most eminent violinists who was awarded the title Merited Artist of the Hungarian People´s Republic in 1981, also features as a soloist at many of their appearances.
János Sebestyén
János Sebestyén (born in Budapest in 1931) began his musical education at the National Conservatoire. He later studied the organ, piano and composition at the Ferenc Liszt Academy of Music. His teachers included Ferenc Gergely, István Antal and Ferenc Szabo.
After graduation he joined the staff of Hungarian Radio, where he is at present a senior member of the music staff. He also teaches at the Academy of Music. He has performed on the organ and harpsichord in a great many countries in Europe as well as the United States and in Japan.
He has made more than fifty recordings issued by Hungaroton, VOX, BAM and CBS. In recognition for his work he was awarded the Erkel Prize in 1967 and the Liszt Prize in 1974. In 1982 he was appointed to the title of Artist of Merit of the Hungarian People´s Republic
@calefonxcalectric
In the Overture in D major for strings, oboes, horns, trumpets, timpani and continuo (published by P. Salzmann in ¨Portugaliae Musica¨ vol. XVI, Lisbon 1969), Seixas breaks away from Italian models to show his knowledge of the ¨French style¨ as found in the orchestral suites of Lully, Rameau, Telemann and Händel.
The first movement opens in French Overture style characterizing itself by the use of oboes, trumpets and timpani. Both the central movements have the same instrumentation (strings, two horns and continuo) and are farther linked by their inherent harmonic function which passes from the relative minor to the dominant of the main key. Here too the last movement is a minuet and the darker horns give way again to the instrumentation of the opening movement. The wind section here produces a colourful contrast of timbre with the strings.
In many of his works, Seixas´ style shows elements that belong to the transitional period between the Baroque and the Classical in music; this is not, however, the case in his Concerto in A major for harpsichord and string orchestra where the musical language is clearly Baroque. As evidence for this we have the concerto form employed for the first movement, tipically divided into seven sections; the thematic unity of this same movement; the harmonic characteristics of the slow movement; and the Gigue-like dance patterns of the last movement. Apart from a particular sensitivity as regards formal proportions, this concerto also shows masterly use of the harpsichord; we should, however, also, allow for the possibility of the solo part being played on the chamber organ - a common practice at a time when there was very little difference between the various members of the keyboard family.
It is fairly unlikely that Carlos Seixas should had known the harpsichord concertos of Johann Sebastian Bach or the organ concertos of Georg Friedrich Händel written after 1730 and 1735 respectively; thus the originality in the conception of Seixas´ concerto serves all the more as proof of the brilliant creativity of this Portuguses composer.
The concerto for harpsichord and strings with continuo in G minor (published by G. Doderer, Heidelberg 1979) bears no indication of its composer; in contrast to the thorough homogeneity of Seixas´ concerto, this work is characterized by the experimental nature of the solo part. Certain details seem to indicate an affinity with the school of Padre Gianbattista Martini in Bologna like, for instance, the thematic material derived from perfect triads, the use of French overture-type rhythms and their inversion, not to mention the way in which the second movement has no solo part. Certain common characteristics both as regards the form and the thematic content incline us to believe that the Concerto in G minor was directly linked to the musical circle of the Portuguese master. There is no doubt that the A major Concerto was used as a model for thematic material of both first and last movements. Quite apart from this, though, the deeply Portuguese expression which we find in this concerto clearly proves that it came from a school of musicians influenced by Carlos Seixas. Consequently, we may say that the Concerto in G minor was written around 1750/60.
Gerhard Doderer
The Ferenc Liszt Chamber Orchestra
The Ferenc Liszt Chamber Orchestra plays a significant role in the musical life of Hungary, giving some 30 to 35 concerts a year in Budapest and provincial towns. Included in their repertoire are owrks from almost all periods of the history of music, from Monteverdi, through Bach, Vivaldi, Mozart and the Romantics, to contemporary music.
The orchestra´s high standards are borne out by a great number of radio and gramophone recordings. They have won Grand Prix du Disque in Paris on three occasions and twice captured the ¨Disc of the Year¨ award in Hungary.
Their tours have regularly taken them to almost every country in Europe, and they have appeared at major festivals such as Santander, Montreux, Prades, Edinburgh and Helsinki. Their first overseas tour in 1975 was a tremendous success, and has since brought concert bookings in more than 150 cities in the United States and Canada. At the beginning of 1981 they were embarking on a fourth North American tour of nine weeks. In 1979, the orchestra made its debut in Japan, with a month´s tour that included concerts in several large cities, and two appearances in Tokyo.
A considerable part in developing the orchestra was played by Frigyes Sändor, who was Artistic Director until his death in 1979.
The Ferenc Liszt Chamber Orchestra consists of 16 strings and a harpsichordist. Leader János Rolla (1944) a founding member of the orchestra and one of Hungary´s most eminent violinists who was awarded the title Merited Artist of the Hungarian People´s Republic in 1981, also features as a soloist at many of their appearances.
János Sebestyén
János Sebestyén (born in Budapest in 1931) began his musical education at the National Conservatoire. He later studied the organ, piano and composition at the Ferenc Liszt Academy of Music. His teachers included Ferenc Gergely, István Antal and Ferenc Szabo.
After graduation he joined the staff of Hungarian Radio, where he is at present a senior member of the music staff. He also teaches at the Academy of Music. He has performed on the organ and harpsichord in a great many countries in Europe as well as the United States and in Japan.
He has made more than fifty recordings issued by Hungaroton, VOX, BAM and CBS. In recognition for his work he was awarded the Erkel Prize in 1967 and the Liszt Prize in 1974. In 1982 he was appointed to the title of Artist of Merit of the Hungarian People´s Republic
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Для любого состояния души, восторга, любви, горя
@MarcosMedalon
Simplesmente fantástico!!! Um dos meus compositores favoritos. Obrigado pela partilha. Saudações Lusitanas!
@levon3194
Brilliant performance!!!
@susannafey58
Maravillosa la música...gracias🙏
@MrPablitodutra
Viva o Reino Unido de Portugal, Brasil e Algarves! Saudações do Brasil 🇧🇷🇵🇹. São José de Anchieta, ora pro nobis🇻🇦
@chickpeas_and_squats
Excellent!
@cristinaolaru8287
❤A very positive message and a harpsichord melodic line in the. French style.I didn't know this composer.
@opreadumitru1055
are you romanian or moldavian by any chance? your name seems so that's why I'm asking
@valtercarignanomaestrodicanto
Molto interessante. Non conoscevo questo compositore, grazie.