Soler, A: Keyboard Sonata No. 10 in B minor

This page lists all recordings of Keyboard Sonata No. 10 in B minor, by Antonio Soler (1729-83) on CD & download (MP3 & FLAC).

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Antonio Soler: Keyboard Sonatas Nos. 1–15

Soler, A:

Keyboard Sonata No. 1 in A major

Keyboard Sonata No. 2 in E flat major

Keyboard Sonata No. 3 in B flat major

Keyboard Sonata No. 4 in G major

Keyboard Sonata No. 5 in F major

Keyboard Sonata No. 6 in F major

Keyboard Sonata No. 7 in C major

Keyboard Sonata No. 8 in C major

Keyboard Sonata No. 9 in C major

Keyboard Sonata No. 10 in B minor

Keyboard Sonata No. 11 in B major

Keyboard Sonata No. 12 in G major 'De La Codorniz'

Keyboard Sonata No. 13 in G major

Keyboard Sonata No. 14 in G major

Keyboard Sonata No. 15 in D minor

Martina Filjak (piano)

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.

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Soler - Sonatas for Harpsichord Volume 7

Soler, A:

Keyboard Sonata No. 10 in B minor

Keyboard Sonata No. 11 in B major

Keyboard Sonata No. 39 in D minor

Keyboard Sonata No. 3 in B flat major

Keyboard Sonata No. 80 in G minor

Keyboard Sonata No. 81 in G minor

Keyboard Sonata No. 82 in G major

Keyboard Sonata No. 113 in E minor

Keyboard Sonata No. 112 in C major

Keyboard Sonata No. 108 in C major 'Del Gallo'

Keyboard Sonata No. 97 in A major (Op. 8 No. 1)

Gilbert Rowland (harpsichord)

“This CD starts with an absolute cracker of a sonata (no. 10 in B minor) a monumental, audaciously virtuosic piece with instant appeal and depth…” Early Music Review, 2001