ANTONIO SOLER : Sonatas for Harpsichord, Vol. 1 (Gilbert Rowland) (1996) FLAC (tracks+.cue), lossless

Padre Antonio Soler (1729-1783)

1    Sonata No. 1 In A Major    4:12
2    Sonata No. 85 In F Sharp Minor    5:23
3    Sonata No. 90 In F Sharp Major    4:34
4    Sonata No. 110 In D Flat Major    6:58
5    Sonata No. 54 In D Minor    3:36
6    Sonata No. 15 In D Minor    4:09
7    Sonata No. 101 In F Major    4:03
8    Sonata No. 18 In C Minor    7:21
9    Sonata No. 19 In C Minor    5:42
10    Sonata No. 43 In G Major    3:41
11-14    Sonata No. 91 In C Major (Op. 4, No. 1, 1779)    (21:26)    

Harpsichord – Gilbert Rowlan

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 2 (Gilbert Rowland) (1997) FLAC (tracks+.cue), lossless

Padre Antonio Soler (1729-1783)

1    Sonata No. 35 In G Major    3:20
2    Sonata No. 116 In G Major    4:21
3    Sonata No. 16 In E Flat Major    12:15
4    Sonata No. 17 In E Flat Major    7:26
5    Sonata No. 87 In G Minor    5:53
6    Sonata No. 42 In G Minor    4:10
7    Sonata No. 46 In C Major    5:16
8    Sonata No. 52 In E Minor    3:29
9    Sonata No. 106 In E Minor    3:12
10    Sonata No. 83 In F Major    4:18
11-14    Sonata No. 92 In D Major (Op. 4, No. 2 - 1779)        

Harpsichord – Gilbert Rowland

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 3 (Gilbert Rowland) (1997) FLAC (tracks+.cue), lossless

Padre Antonio Soler (1729-1783)

1    Sonata No. 34 In E Major    5:03
2    Sonata No. 32 In G Minor    4:41
3    Sonata No. 57 In G Minor    4:55
4    Sonata No. 33 In G Major    5:58
5    Sonata No. 117 In D Minor    7:06
6    Sonata No. 55 In F Major    5:16
7    Sonata No. 69 In F Major    3:26
8    Sonata No. 28 In C Major    9:03
9    Sonata No. 29 In C Major    2:39
10    Sonata No. 50 In C Major    2:34
11-14    Sonata No. 93 In F Major (Op. 4, No. 3 - 1779)    

Harpsichord – Gilbert Rowland

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 4 (Gilbert Rowland) (1998) FLAC (tracks+.cue), lossless

Padre Antonio Soler (1729-1783)

1    Sonata No. 30 In G Major    9:03
2    Sonata No. 31 In G Major    2:31
3    Sonata No. 49 In D Minor    2:51
4    Sonata No. 120 In D Minor    4:01
5    Sonata No. 41 In F Major    7:07
6    Sonata No. 89 In F Major    4:01
7    Sonata No. 36 In C Minor    5:34
8    Sonata No. 53 In A Major (Sonata De Clarines)    6:21
9    Sonata No. 26 In E Minor    10:14
10    Sonata No. 27 In E Minor    4:55
11-14    Sonata No. 94 In G Major Op. 4 No. 4    (20:23)

Harpsichord – Gilbert Rowland

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 5 (Gilbert Rowland) (1999) FLAC (tracks+.cue), lossless

The first of the unmistakably Spanish sounding sonatas in D major, Nos. 73/74, is an exhilarating and powerful dance movement whose texture is often enriched by a chain of thirds in the left hand. The driving rhythms are temporarily halted in the middle of each section by the dramatic use of diminished seventh chords, after which the second subject appears, first in the minor, then in the major. No. 74 is held together by extended melodic phrases in the right hand accompanied by guitar-like chords in the left hand, often with flamenco orientated harmonies. A more exultant passage containing bagpipe drone effects and virtuoso arpeggios is introduced towards the end of each half.

No. 118 in A minor is a lively Spanish dance movement in 6/8 time. Short repeated phrases in the manner of Scarlatti contribute to its forward drive, rapid repeated chords in the left hand portray the strumming of guitars, and there is a surprising modulation in the second section where, having paused on a chord of A major, Soler plunges straight into the key of B flat.

Sonata No. 38 in C major is rich in thematic material and nearly all the seemingly folk-inspired melodies appear to derive from the opening bars. The style is very close to Scarlatti, particularly some of the figurations in the left hand.

Of the Sonatas Nos. 105/2 in E flat major, the first is an affecting slow movement of much lyricism and beauty. The first half of the work ends in the relative minor instead of the more customary dominant, and there are some irregular phrase lengths. The second, on the other hand, is a busy driving work of much virtuosity and brilliance. Trills, repeated notes, passages in thirds, left hand jumps and surprising modulations are all there to dazzle the listener. The figure heard at the beginning of the work appears in a type of inversion just after the start of the second section.

Sonata No. 58 in G major is one of several sonatas by Soler conceived in Rondo form rather than his customary binary form and many of the almost pianistic figurations point to this being a late work. The two long episodes before and after the second appearance of the Rondo theme involve virtuoso writing which is in marked contrast to the perky, audaciously naïve theme itself.

A graceful, Minuet-type movement of much charm, Sonata No. 114 in D minor is held together by triplet figurations. The general harmonic drift is closer to the idiom of Haydn or C.P.E. Bach than that of Scarlatti, suggesting that this is also a comparatively late work.

In the first of Sonatas Nos. 5/6 in F major, much use is made of the opening material, particularly the triplet in the first bar, and the lyrical second subject is clearly derived from it. There is some imitative writing between the hands, and there are some wide leaps in the left hand. No. 6 is a driving Presto movement of much technical intricacy in the manner of Scarlatti. There are some remarkable modulations, repeated chords imitating the Spanish guitar, and both sections end in the minor.

Sonata No. 95 in A major is the fifth of a set of six four-movement sonatas (Op. 4) dating from 1779. The work begins with along Haydnesque slow movement with lyrical writing offset by more florid passages in the right hand. The second movement has much verve and forward movement. Halfway through each section there is a fermata coupled with the term arbitri, which suggests a short cadenza is intended to be inserted at that point. Of the contrasted pairs of Minuets which follow, the first is marked Maestoso and has a very similar theme to the first minuet of Sonata No. 93 (Naxos 8.553464). The second is much quicker and in four sections followed by a repeat of the first section. The Allegro Pastoril with its jaunty rhythms, folk-like melodies and country dance elements brings this attractive work to a suitably lively conclusion. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata No. 73 In D Major    7:08
2    Sonata No. 74 In D Major    7:40
3    Sonata No. 118 In A Minor    4:15
4    Sonata No. 38 In C Major    4:55
5    Sonata No. 105 In E Flat Major    4:58
6    Sonata No. 2 In E Flat Major    3:26
7    Sonata No. 58 In G Major    4:32
8    Sonata No. 114 In D Major    4:52
9    Sonata No. 5 In F Major    5:32
10    Sonata No. 6 In F Major    3:49
11-14    Sonata No. 95 In A Major    (25:40)

Harpsichord – Gilbert Rowland

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

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 7 (Gilbert Rowland) (2000) FLAC (tracks+.cue), lossless

No. 10 in B minor is one of the most stunning and spectacular of all Soler's works. Dashing runs, hand-crossings frequently involving left hand jumps of four octaves, and wide skips in the bass are all used with a breathtaking virtuosity and brilliance which at times goes even beyond Scarlatti's extreme flights of fancy in this sphere. A quotation from the preface to Rubio's edition of the Soler Sonatas describes the second of this pair, Sonata No. 11, as "a truly delightful piece, full of charm and poetry which the divine Mozart himself could have signed". This perhaps eloquently sums up the character of Soler's only keyboard venture into the (for the period) somewhat outlandish key of B major, though whether Mozart would have agreed with that statement is open to speculation.

Despite the varied thematic material and lively rhythms of Sonata No. 39 (in D minor), this rich-­textured and passionate work has a rather dark and sombre character. Virtuoso elements include arpeggios and passages in thirds.

No. 3 in B flat major is a lyrical slow movement whose thematic material is almost entirely governed by the step-wise rise and fall of the opening bars. Towards the end of each section the general mood of calm and tranquillity is momentarily disrupted by some flamboyant arpeggios in the left hand.

Nos. 80, 81 and 82 form an interesting trilogy, the first of which is a fine work whose rhythmic drive and physical energy are powerfully enhanced by the frequent use of octaves in the bass, dotted rhythms and wide leaps. There are also some striking modulations and harmonic progressions. Sonata No. 81 is not in Soler's customary binary form, and the constant alternation of fiery, urgent quick sections with operatic-sounding cantabile passages make this one of the most exciting and individual works among the composer's output. Sonata No. 82 is a charmingly rustic jig-like work in 6/8 time with an abundance of trills and much imitation between the hands. The opening bars are developed in the manner of a three-part invention at the start of the second half, where the listener receives an aural impression of 9/8 time.

The somewhat melancholy Sonata No. 113 in E minor is without doubt one of Soler's most memorable and beautiful slow movements. There are many guitar-­like repeated chords in the left hand accompanying soulful melodies in the right, and some of the modulations are almost romantic in feeling.

The first of the sprightly pair of sonatas which comprises Nos. 112 and 108 in C major is a work full of rhythmic vitality, containing some arresting modulations and harmonic changes, as well as being totally unpredictable in its abundant flow of ideas. The second, subtitled Del Gallo (‘The Cock's Crowing’), is Soler's answer to Rameau's 'La Poule', and a delightfully humorous little work it is too, with its dotted rhythms and frequent acciacaturas. Shortly after the double bar the cuckoo appears to join in for a while!

No. 97 in A major is the first of a set of three four-movement sonatas (Op. 8) dating from 1783. They differ in structure from the Op. 4 set in that the Minuets (which in this case follow the standard Minuet and Trio form of the Viennese Classical Symphony) are placed second, and the third movement is a Rondo in each case. The hand-crossings and easy-going 'Galant' manner of the first movement give way to more vigorous Minuet with a Trio in the minor. The jaunty rhythms of the Rondo are offset by two longer episodes of which the second in particular, in the relative minor, contains passages of virtuosic display. The buoyant, syncopated rhythms heard at the opening of the last movement soon give way to an extended passage of almost Schubertian lyricism, only to be resumed at the end of each half. A sequential passage appearing shortly after the start of the second section leads back to a reprise of the opening theme. Gilbert Rowland

Padre Antonio Soler (1729-1783)

1    Sonata No. 10 In B Minor    9:11
2    Sonata No. 11 In B Major    6:13
3    Sonata No. 39 In D Minor    4:25
4    Sonata No. 3 In B Flat Major    5:46
5    Sonata No. 80 In G Minor    6:32
6    Sonata No. 81 In G Minor    3:17
7    Sonata No. 82 In G Major    4:01
8    Sonata No. 113 In E Minor    5:13
9    Sonata No. 112 In C Major    5:15
10    Sonata No. 108 In C Major (Del Gallo)    3:26
11-14    Sonata No. 97 In A Major (Op. 8 No. 1, 1783)    

Harpsichord – Gilbert Rowland

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

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

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

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

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 12 (Gilbert Rowland) (2006) FLAC (tracks+.cue), lossless

The Catalan composer Antonio Soler spent much of his life as a monk at the 16th-century Spanish monastery of El Escorial. In addition to his monastic duties he was expected to train the choir, provide choral music for services and supply the Royal family with secular and instrumental music during their frequent visits. Although much of his day was taken up with prayer and the routine of the community, he found time to compose 150 varied and colourful keyboard sonatas, mostly written for the harpsichord. The present volume includes two sonatas in three movements and one in two movements, while the other sonatas are in single-movement form, structurally similar to the single-movement sonatas of Domenico Scalatti, Soler’s possible teacher. naxos
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Padre Antonio Soler (1729-1783)

1    Sonata In C Major (Without Rubio Number)    
2    Sonata No. 130 In G Minor    
3    Sonata No. 121 In C Major    
4-6    Sonata No. 63 In F Major    
7-9    Sonata No. 67 In D Major    
10    Sonata No. 125 In C Minor    
11    Sonata No. 44 In C Major    
12    Sonata No. 107 In F Major    
13-14    Sonata No. 79 In F Sharp Major    

Harpsichord – Gilbert Rowland

ANTONIO SOLER : Sonatas for Harpsichord, Vol. 13 (Gilbert Rowland) (2007) FLAC (tracks+.cue), lossless

Owing mainly to the tireless efforts of the late Father Samuel Rubio and other editors in making his works available in print during the past forty years, Padre Antonio Soler is now justly regarded as the most important composer active in Spain during the second half of the eighteenth century. Spanish folk-song and dance elements, as well as virtuoso effects, such as repeated notes in the left hand against wide leaps and hand crossings in the right, feature prominently in the 150 Sonatas. Soler’s slow movements, for example the opening movement of the splendid Sonata Sonata No. 60 heard on this disc, contain some of his most heartfelt and poignant music. This is the last disc in Gilbert Rowland’s Naxos cycle of the complete Soler Sonatas for Harpsichord. naxos
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Padre Antonio Soler (1729-1783)

1-3    Sonata No. 60 In C Minor    (15:45)
4    Sonata In G Major: Rondo (Without Rubio Number)    2:01
5-7    Sonata No. 66 In C Major    (19:40)
8-10    Sonata No. 68 In E Major    (20:53)
11    Sonata No. 75 In F Major    7:22
12    Sonata No. 76 In F Major    6:16

Harpsichord – Gilbert Rowland