Soler, A: Keyboard Sonata No. 12 in G major 'De La Codorniz'

Soler was music master to the princes of Bourbon in El Escorial, the palace of the King of Spain. It’s probable that most of his keyboard sonatas were written for Prince Gabriel and these essentially private works – around 150 have survived – bear comparison with the works of Domenico Scarlatti and C.P. E. Bach. Soler was fond of dance rhythms and guitar imitations, as well as infectious and delightful modulations. These fifteen sonatas are heard here in the order proposed by Rubio’s catalogue. Pianist Martina Filjak – “brilliance, sensitivity and imagination” (The New York Times) – is a much admired international artist.

Pieter-Jan Belder’s zeal for the rediscovery of 17th-century keyboard music continues apace with this, the third volume in the first-ever projected complete set of the harpsichord sonatas by Padre Antonio Soler, contemporary and rival of Domenico Scarlatti. Like Scarlatti’s examples, these sonatas are intensely colourful, alternately exuberant and poetic, and always distinctive.

Soler (1729-83) was born in Olot, Catalunia, and became a monk at Escurial where he was organist and composer. A keyboard soloist of prodigious skills, he composed many sonatas for harpsichord (although not one has survived in his hand), organ works a Requiem, piano quintets and concertos for 2 keyboards, and incidental music to plays by Calderon and other 17th century Spanish playwrights.

Much research has been carried out to establish accurate performing editions of Soler’s music. The editions used in these recordings are by Professor Frederick Marvin who researched the extensive library and archives of Montserrat Monastery, El Escorial and Bibloteca de Catalunia in Barcelona in the 1940s through to the 1960s, and the edition by Padre Samuel Rubio.

New recordings.

Booklet notes by Soler authority Frederick Marvin.