ANTONIO SOLER : Sonatas for Harpsichord, Vol. 6 (Gilbert Rowland) (2000) FLAC (tracks+.cue), lossless

Sonata No. 4 in G major is a rich-textured, festive sounding work, complete with guitar-like repeated notes and the imaginary sounds of trumpets and drums. Each of this sonata's two main sections is divided into three sub-sections separated by fermatas, and there are some typically abrupt modulations coupled with short repeated phrases in the manner of Scarlatti.

Sonata, Nos. 102/104 in D minor are both light-­textured works consisting of mostly two-part writing throughout. Triplet figuration dominates most of Sonata No. 102 except for the four bars in each section where a three-voice texture is introduced making effective use of suspensions. Sonata No. 104 is a sprightly little work, very Spanish in idiom with occasional syncopations giving an aural impression of 3/4 against 6/8. This is characteristic of the Zapateado, of which this is a typical example.

The musical language of Sonatas Nos. 109/56 in F major is far closer to Mozart than Scarlatti suggesting that both must be late works. The first is a Rondo of much charm and rhythmic buoyancy with occasional unexpected excursions into the Phrygian mode. The second is a warm, lyrical work containing at least three distinct ideas. It also approaches sonata form since the opening theme is recapitulated in the second half after a short development section. Again, Soler's gift for surprising modulations is apparent.

>Sonata, Nos. 70 and 71 in A minor are a well contrasted pair. The first is a brilliant perpetuum mobile of much drive and virtuosity complete with scales, hand-crossings, and passages in thirds. Sonata No. 71 is a poignant, intense slow movement (unusually placed second), containing many subtle rhythmic and harmonic changes. Each section builds up to an impressive climax, re-inforced by octaves in the bass. Again there are hand-crossings.
Sonata No. III in D major is a genial work which like Sonata No. 4 contains three sub-sections in each of its two halves. Guitar-like repeated chords feature prominently and there are some striking modulations.

Sonatas Nos. 100/103 in C minor are another strikingly contrasted pair of sonatas with one of Soler's most memorable and heartfelt slow movements placed first. The work is rich in thematic content as well as offering plenty of variety in the way of rhythm, texture and figuration. Sonata 103 is a lively Spanish dance movement containing melodies which appear to be of folk origin. The sound of the Spanish guitar is portrayed by the use of arpeggios, broken-chord figurations, and repeated chords in the left hand.

Sonata No. 96 in E flat major is the last of Soler's set of six-movement sonatas (Op. 4) dating from 1779. Perky march rhythms characterise the first movement which is not really a slow movement despite the Andante gracioso tempo marking. The idiom is similar to certain movements from the six Concertos for two organs. Allegro cantabile is an apt description of the long, flowing lines governing the amiable second movement which begins with the same rising thirds as Sonata No. 73. Of the pair of Minuets which tallow, the first is dominated by lively dotted rhythms, and the second falls into three repeated sections. The Pastoral with its Siciliano-style dotted rhythms and seemingly folk-inspired melodies calls to mind similar pieces by Scarlatti in that particular vein, and brings this work to an enchanting conclusion. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata No. 4 In G Major    4:12
2    Sonata No. 102 In D Minor    3:18
3    Sonata No. 104 In D Minor    2:33
4    Sonata No. 109 In F Major    3:57
5    Sonata No. 56 In F Major    7:23
6    Sonata No. 70 In A Minor    5:13
7    Sonata No. 71 In A Minor    7:08
8    Sonata No. 111 In D Major    5:38
9    Sonata No. 100 In C Minor    6:20
10    Sonata No. 103 In C Minor    3:25
11-14    Sonata No. 96 In E Flat Major, Op. 4 No. 6    (25:41)    

Harpsichord – Gilbert Rowland