ANTONIO SOLER : Sonatas for Harpsichord, Vol. 9 (Gilbert Rowland) (2003) FLAC (tracks+.cue), lossless

Sonatas Nos. 86/84 in D major have lively Spanish dance rhythms, and flamenco orientated harmonies and guitar-like repeated chords are prominent features of both these sonatas in triple time. Much of the thematic material of No. 86 is built out of rising and falling scale patterns. There are also some striking modulations, particularly in the second half. The very familiar Sonata No. 84, with its Scarlattian leaps, rapid repeated notes and chords suggesting the tremolo of the Spanish guitar, is one of Soler’s most ebullient and justly popular works.

The fine Sonata No. 72 in F minor is characterized by a relentless drive and vitality that is immediately attractive and fresh sounding. Lyricism frequently cuts through the intricate figurations, and Soler’s gift for modulation is amply demonstrated.

Both of the contrasted pair of Sonatas Nos. 132/119 in B flat major call for more than the full five-octave compass of the harpsichord, ranging from low F to the top G. The heading Cantabile – Andantino aptly describes the character of the utterly charming and lyrical Sonata No. 132, which is very Spanish in its musical language, both melodically and harmonically, especially the second subject in the dominant minor. Dotted rhythms are a prominent feature, and there are some striking modulations, particularly after the double bar. Sonata No. 119 is an exuberant virtuoso piece with many difficult leaps, subtle rhythmic changes, and modulations to remote keys. Typical of Spanish dance rhythms in this work is the shifting of accents, so that 6/8 sometimes sounds like 3/4.

Sonatas Nos. 24/25 in D minor form another contrasted pair of sonatas, the first of which is a lyrical and passionate work with an abundant flow of ideas. Again it is unmistakably Spanish in its melodic content. Each half becomes more animated and intense as it progresses, and although marked Andantino cantabile this piece never truly feels like a slow movement, since the 3/8 time has a one in the bar feeling. Sonata No. 25 begins in the manner of a fugue, and the texture of this work is often more contrapuntal than is usual for Soler (except when he is actually writing fugues) often with imitation between the hands. Passages which are purely harmonic in texture are introduced by way of contrast, including the delightful second subject with its broken chord accompaniment, after which the music becomes more dramatic, reinforced by powerful octaves in the bass.

The three sonatas, Sonatas Nos. 12/13/14 in G major appear as a trilogy in the English edition and have certain features in common. All are quick movements in duple time, making use of arpeggio figuration and hand-crossings. Sonata No. 12, De La Codorniz (The Quail), like Sonata No. 108, Del Gallo, recorded on Volume 7, is another ornithological piece characterized by a persistent dotted rhythm. No. 13 is a rich-textured virtuoso piece of much drive and vigour. There are some startling modulations in the second half, and the full five-octave range is called for. No. 14 is the most lyrical of the set despite the flamboyant use of left-hand arpeggios, hand-crossings and repeated notes. There is some ambiguity of rhythm at the beginning that causes the listener to perceive the opening bars as being in 3/2 rather than 2/2. The work also contains some striking harmonies and modulations.

Sonata No. 99 in C major is the last of the set of three four-movement sonatas (Op. 8) dating from 1783. The relaxed first movement in conventional galant style is followed by a festive sounding Minuet with a rather curious Trio section in the relative minor, marked tutto staccato, the left-hand patterning of which causes the 3/4 time signature to feel like 6/8 to the listener much of the time. The Rondo Pastoril that follows is an exuberant, folk-inspired piece with some typical drone effects. The episodes surrounding the rondo theme, one of which is in the tonic minor, all contain busy semiquaver figurations in each hand. The drive and energy of the last movement, with its varied figurations, including many passages in thirds makes a suitably brilliant conclusion. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata No. 86 In D Major    5:10
2    Sonata No. 84 In D Major    3:14
3    Sonata No. 72 In F Minor    5:55
4    Sonata No. 132 In B Flat Major    8:07
5    Sonata No. 119 In B Flat Major    4:41
6    Sonata No. 24 In D Minor    8:06
7    Sonata No. 25 In D Minor    5:50
8    Sonata No. 12 In G Major ("De La Codorniz")    3:58
9    Sonata No. 13 In G Major    4:22
10    Sonata No. 14 In G Major    4:59
10-14    Sonata No. 99 In C Major (Op. 8, No. 3)    (18:18)   

Harpsichord – Gilbert Rowland