THOMAS HAIGH6 Concertos for Harpsichord (1783)
BARBARA HARBACH, harpsichord
World Premiere Recordings
PROGRAM NOTESHarpsichord built by Willard Martin in 1989, a copy of an 18th century two-manual French double harpsichord, designed by François Blanchet.
Thomas Haigh (1769-c.1808) was a pianist, violinist and composer. He studied with Franz Joseph Haydn in London during Haydn’s first visit to London in 1791-1792 and dedicated his Violin Sonatas Op. 8 and Op. 10 to Haydn. Haigh arranged many of Haydn’s works for piano such as Symphonies No.70 and No.81 as well as the Armida Overture. Several of Haigh’s publications appear to date from 1815-1819, and it may be that Haigh died later than 1808, since posthumous publication of new works rarely occurred.
Six Concertos for the Harpsichord or Piano Forte with accompaniments for two Violins and Cello was published in London for the author in 1783. Harbach has chosen to record the Six Concertos as solo harpsichord concertos without the accompanying violins and violoncello. In the time of Haigh, it was fashionable and accepted to write accompanied and unaccompanied concertos. Thomas Arne (1710-1778) wrote six keyboard concertos that may be played with or without the two oboes and strings.
The Six Concertos are inventive, and each is different in style and melodic construction. Some general characteristics include brilliant, virtuosic and idiomatic keyboard figurations (cross hands, cross rhythms of three against two, chromatic scales, parallel thirds in both slow and fast movements); numerous embellishments, such as trills and figurations typical of the times and reflecting Haigh’s study with Haydn; and a variety of rhythmic figurations that go from throbbing eighth-notes to triplets, to sixteenth-notes with fast scalar runs; ascending and descending octaves; arpeggios and tremolos. The melodies are charming and appealing, often with folk-like, triadic melodic construction and Alberti bass accompaniments abound, producing driving energy and rhythms. While the concertos have limited repetition or development of ideas, most movements provide cadenza opportunities.
In the mid 1780s, a few dynamics are in evidence, and Haigh made use of piano, forte, mezzoforte and crescendo, as well as of slurs and accent marks. Forte or tutti signifies the full ensemble, often played on the lower harpsichord manual coupled or uncoupled, while the piano marking is for the keyboard soloist played on either the upper manual or lower manual. The forte or tutti sections have a fuller texture and smaller range, while the solo writing encompasses most of the harpsichord range and is written in idiomatic keyboard style. The Concertos are challenging for the performer - and fun to play.
The Concertos have three movements, except for Concerto No.1 and No.5, each of which have two. The first movements have several characteristics in common, such as a tutti-solo format, a short development section, motivic echoes, sequences and circle of fifths progressions. In both the first and last movements, a music box effect often occurs with both hands playing above middle C. Concerto No.3 begins in French Ouverture style with a written-out cadenza, atypical of the Concertos. The slow movements are short while the last movements are in rondo form, usually ABACA, often with a short coda. The C section is usually in the parallel minor key.
Barbara Harbach has toured extensively as both concert organist and harpsichordist throughout the United States and Canada, and internationally in Bosnia, Croatia, Czech Republic, Germany, Hungary, Japan, Korea, Romania, Serbia and Siberia. Harbach’s lively performances and recordings have captured the imagination of many American composers, and the body of work written for and dedicated to her is substantial. She is involved in the research, editing, publication and recording of manuscripts of 18th century keyboard composers, as well as of historical and contemporary women composers. As an accomplished and prolific composer herself, Harbach has a large catalog of works, including symphonies, operas and ballets; works for chamber and string ensemble; musicals and film scores; works for organ, harpsichord and piano; choral anthems; and arrangements for brass and organ of Baroque music.
Barbara Harbach’s work is available in both recorded and published form through MSR Classics, Naxos Records, Gasparo Records, Kingdom Records, Albany Records, Northeastern Records, Hester Park, Robert King Music, Elkan-Vogel, Augsburg Fortress, Agape Music and Vivace Press.
[ www.barbaraharbach.com ]
PROGRAMTHOMAS HAIGH (1769-c.1808)
HARPSICHORD CONCERTO NO.1 IN D MAJOR
Allegro - Presto
HARPSICHORD CONCERTO NO.2 IN B-FLAT MAJOR
Rondeau – Allegretto
HARPSICHORD CONCERTO NO.3 IN A MINOR
Rondo – Allegretto
HARPSICHORD CONCERTO NO.4 IN G MAJOR
Tempo di Minuetto
HARPSICHORD CONCERTO NO.5 IN C MAJOR
Rondo – Allegro
HARPSICHORD CONCERTO NO.6 IN E-FLAT MAJOR
Rondo – Allegretto