ANTONIO SOLER : Sonatas for Harpsichord, Vol. 11 (Gilbert Rowland) (2006) FLAC (tracks+.cue), lossless

The exuberant technically demanding virtuoso Sonata in C major (without Rubio number) with its frequent wide skips and delightfully syncopated second subject comes from a manuscript in the Biblioteca de Cataluña which appears to have been unknown to Rubio as it is not included in his catalogue. The infectious, rustic sounding dance-like 9/8 rhythms call to mind such works as Sonata No. 88 (recorded on Vol. 10) and the Finale of No. 93 (recorded on Vol. 3)

The first member of the contrasted pair of sonatas, Sonatas Nos. 22/23 in D flat major, is one of Soler’s most extended slow movements. Although marked Cantabile andantino this work’s frequent use of dotted rhythms and imitations of bugle calls give it more of a martial character at times, and there are some remarkable modulations as well as a profusion of contrasted ideas. Sonata No. 23 is also rich in thematic material, and although in some ways a virtuoso piece with frequent wide skips in the left hand, plus a dramatic passage involving dotted rhythms in the right hand against arpeggios in the left, it is the warm, heartfelt, at times almost Schubertian lyrical character of this work which predominates. Again, there are some surprising modulations.

The structure of Sonata No. 128 in E minor is most unusual, even allowing for the fact that it is a kind of Rondo rather than a work cast in the composer’s usual binary form. There appear to be two contrasted Rondo themes being developed alternately here. The initial theme, in triple time is lyrical and developed at considerable length through various keys until a more lively section in duple time starting in the tonic key and based on a theme featuring repeated notes is reached. This is followed by a short recap of the original theme, before the repeated note idea is developed more extensively. Variants of both ideas then continue to alternate.

Sonata No. 45 in C major is a sprightly, dance-like work containing some charming melodies seemingly derived from Spanish folklore. There is some interesting use of chromaticism and a passage towards the end of each half, featuring cross-accents where the right hand’s 3/8 pulse is perceived as 6/16. The ‘Princesa de Asturias’ to whom this sonata is dedicated is unlikely to have been Maria Barbara since Soler would have been barely seventeen years old when she became Queen of Spain in 1746.

Sonata No. 51 is a short, light-hearted piece having the character of a jig. The work also contains some witty syncopations, and in the second half some teasing harmonic progressions

Sonata No. 65 in A minor is the third of a collection of six three-movement sonatas dating from 1777, and the only one of the set in a minor key. Both the lyrical, light-textured opening movement and the more forthright, driving second movement are very rustic in character and contain thematic material suggestive of Spanish folk-music. As with the other works in the set the last movement is fugal, and this one, in 6/8 time, is notable for its imitations in contrary motion, modulations to distant keys, and masterly flow of counterpoint, almost worthy of J.S. Bach.

Sonata No. 127 in D major is a brief, simply constructed work of much charm, and rather Scarlattian in idiom. Alberti figurations in the left hand feature prominently and there are one or two surprises in store such as the unexpected phyrgian cadence at bars 21 and 22.

Sonata No. 62 in B flat major is the second of a pair of four movement sonatas dating from 1782. Like its predecessor, the work opens with a Rondo, and this one has an almost Mozartian charm and grace. Chains of thirds feature prominently in both the main theme and the first episode. The second, in the relative minor is more virtuosic, featuring some particularly skittish keyboard writing which involves the use of repeated notes and broken octaves. The buoyant, high-spirited second movement is thoroughly enchanting and seems to call to mind the sounds of a fairground organ at times. The Minue di rivolti (a “revolving” Minuet where all the themes keep re-appearing in a different order) seems to have been a Soler speciality where form and structure are concerned, and one of its themes could easily be mistaken for a Neapolitan song. The jaunty Finale hovers around the key of D minor a lot of the time after the dominant of F major is reached. The first half ends in D minor, and it is this key which dominates much of the second section before modulating back to the home key of B flat via G minor, C major and F major, thus ending as optimistically as it began. Gilbert Rowland.

Padre Antonio Soler (1729-1783)

1    Sonata In C Major    3:43
2    Sonata No. 22 In D Flat Major    11:33
3    Sonata No. 23 In D Flat Major    7:16
4    Sonata No. 128 In E Minor    6:02
5    Sonata No. 45 In C Major 'Por La Princesa De Asturias'    5:16
6    Sonata No. 51 In C Major    3:27
7-9    Sonata No. 65 In A Minor (1777)    (15:49)
10    Sonata No. 127 In D Major    3:31
11-14    Sonata No. 62 In B Flat Major (1782)    38)

Harpsichord – Gilbert Rowland