ANTONIO SOLER : Sonatas for Harpsichord, Vol. 8 (Gilbert Rowland) (2002) FLAC (tracks+.cue), lossless

The first of the trilogy, Sonatas Nos. 7/8/9 in C major, is one of Soler’s most dashing and brilliant display pieces, containing many difficult hand-crossings, at one point four and a half octaves, repeated notes, and passages in thirds. The rhythmic impetus is often greatly enhanced by pounding octaves in the bass. Sonata No.8, by way of contrast is one of the composer’s most extended slow movements. It is an elegant and utterly charming work whose lyricism is often enhanced by the use of chromaticism. There are many modulations, some of them far removed from the home key. Sonata No.9 is another spectacular virtuoso piece with hand-crossings and many intricate figurations mostly derived from the opening bars, which constantly drive the music forward.

Sonata No.115 in D minor is a light textured little work having the character of a Minuet. The writing is mostly two-part throughout except for the occasional three-voice almost "Waltz-like" passage.

Sonata No.40 in G major is something of a curiosity and in some ways unlike any other sonata in Soler’s output. It is orchestral in texture with the imaginary sounds of woodwind and brass instruments often present. The piece has the character of an operatic overture and some of the chromatic harmonic progressions sound closer to the nineteenth century than the eighteenth. A highly unusual feature is the ending of the first section in the somewhat remote key of B flat.

The first of the two Sonatas Nos. 47/48 in C minor is a tender and melancholy slow movement which is without doubt one of Soler’s most heartfelt and poignant works, often enhanced by spare, two-part writing. The opening bar is used as a unifying passage for the left hand. In total contrast Sonata No. 48 is one of the composer’s stormiest and most restless works with frequent use of octaves in the left hand enriching the texture. Short repeated phrases in the manner of Scarlatti enhance the forward drive of the Spanish dance rhythms inherent in this work.

Like several of Soler’s later works Sonata No. 59 in F major is cast in rondo form instead of his customary binary form. The main theme has the manner of a country dance while the more virtuoso contrasting episodes show the composer at his most effervescent.

The first of the two Sonatas Nos. 20/21 in C sharp minor, in a key that is unusual for the period, is an expressive slow movement whose thematic material unfolds naturally from the opening bars. The momentum increases towards the end of each section through the use of rising and falling scale figuration in triplets derived from the fourth bar. Sonata No. 21 with its cross-rhythms and rich harmonic textures has at times an almost Brahmsian intensity. The second subject with its guitaristic accompaniment is one of the most obvious examples of Soler drawing on Spanish folk-lore for his inspiration.

Sonata No. 98 in B flat major is the second of the set of three four-movement sonatas (Opus 8) dating from 1783. In the light textured first movement, lyrical passages are offset by intricate and varied figurations which gradually become more ornate as the music progresses. There are some lively syncopated rhythms, and also some daring parallel triads at the start of the second subject. The Minuet which follows is held together by sprightly dotted rhythms and has a Trio section of much charm, in the minor, again with passages of syncopation. The simplicity of the main theme of the Rondo is contrasted with two much longer sections, containing much skittish keyboard writing coupled with the occasional serenade-like melody, and the work concludes with a brilliant dance-like movement in 3/8 time, containing hand-crossings. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata No. 7 In C Major    5:02
2    Sonata No. 8 In C Major    8:26
3    Sonata No. 9 In C Major    5:02
4    Sonata No. 115 In D Minor    2:38
5    Sonata No. 40 In G Major    6:23
6    Sonata No. 47 In C Minor    5:38
7    Sonata No. 48 In C Minor    3:29
8    Sonata No. 59 In F Major    5:52
9    Sonata No. 20 In C Sharp Minor    6:58
10    Sonata No. 21 In C Sharp Minor    5:48
11-14    Sonata No. 98 In B Flat Major (Op. 8, No. 2)    (23:10)

Harpsichord – Gilbert Rowland