ANTONIO SOLER : Sonatas for Harpsichord, Vol. 10 (Gilbert Rowland) (2003) FLAC (tracks+.cue), lossless

The Sonata in D flat major (without Rubio number) is a lively work with its profusion of fresh ideas, surprising modulations, and dance-like syncopated rhythms towards the end of each half. It seems to have been unknown to Rubio as it is not included in his complete edition. This is curious since it forms the first sonata in the collection of twelve known as “The Madrid Conservatory Manuscript” of which Father Rubio must surely have been aware.

Sonata No. 88 in D flat major is one of Soler’s more familiar works and is paired with its predecessor. This is one of the composer’s most exuberant and energetic sonatas containing plenty of drive, brilliance and technical virtuosity, including scale passages, rapid repeated notes and hand-crossings. Other features include bagpipe effects, infectious Spanish dance rhythms, and startling modulations such as the abrupt transition from A flat major to F major after the first section repeat. The whole work has the character of a jig in 9/8 time, although written in 3/4 using triplets.

Sonatas Nos. 77/78 in F sharp minor form a pair. The first sonata is a lyrical, poignant slow movement in which the interval of a third features prominently, both melodically and harmonically as a unifying element in the most serious and heartfelt of sonatas amongst Soler’s output. By way of contrast the rich-textured Sonata No. 78 is one of the composer’s most strenuous works technically, featuring rapidly moving left hand octaves, wide skips, passages in thirds, and also some remarkable modulations in the second half.

Sonata No. 37 in D major consists mainly of somewhat elaborate triplet figuration in the right hand, sometimes syncopated, against a forward moving bass line. There are several sonatas by Scarlatti in a similar vein.

Sonata No. 64 in G major is the second work from a collection of six sonatas dating from 1777, all of which have three movements, the last of which is a fugue in each case. The term Pastorale aptly describes the character of the first movement, a piece of considerable charm containing some unexpected twists of melody and harmony with themes seemingly derived from Spanish folklore. This is followed by a typically Galant Allegretto grazioso in sonata form with some audacious chromatic touches, and the joyful four-part double fugue which follows with its peals of bells towards the end and its many excursions into remote keys, shows Soler to be a master of counterpoint even though he only employed it intermittently in the majority of his keyboard works.

 The fine Sonata No. 126 in C minor consists of two well contrasted movements. The first is a beautiful slow movement, which begins with imitation between the hands in the manner of a fugue, and in which dotted rhythms feature prominently. A short cadenza precedes the lyrical second subject, reinforced by octaves, and in the relative major accompanied by almost pianistic-sounding arpeggios in the left hand. There are some striking modulations in the second half. An energetic hunting type jig of irresistible drive and vitality follows. The opening theme is closely related to that of the first movement, and both movements have first sections ending in the relative major. Again there are some extraordinary modulations in the second half.

Sonata No. 61 in C major is the first of two sonatas in four movements dating from 1782. The work opens with a Rondo whose theme moves stepwise in contrary motion to the bass. Of the more elaborate contrasting episodes the first two are in the relative minor, the third in the tonic minor. The full orchestral sounding textures which characterize the second movement give it an almost symphonic weight, and some of its thematic material is suggestive of popular Spanish folk-music, both melodically and rhythmically, The Minue di rivolti which follows, a “revolving” Minuet in which all the themes initially stated re-appear, but not necessarily in the same order, is cast in a form which seems to have been unique to Soler. The work concludes with a driving Allegro of much brilliance and virtuosity complete with hand crossings and frequent use of the “Scotch Snap” in one of its many joyous themes. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata In D Flat Major (Without Rubio Number)   
2    Sonata No. 88 In D Flat Major
3    Sonata No. 77 In F Sharp Minor   
4    Sonata No. 78 In F Sharp Minor   
5    Sonata No. 37 In D Major   
6-8    Sonata No. 64 In G Major   
9-10    Sonata No. 126 In C Minor   
11-14    Sonata No. 61 In C Major   

Harpsichord – Gilbert Rowland