The sonatas in G major, C major, E-flat major, and the two
in D minor reflect the esthetic of the late baroque, as well as some of
Scarlatti's influence. At the same time, however, the regularity of Soler's
phrasing, as well as other differences in keyboard styles previously noted,
demonstrates the independence of Soler's musical thoughts from those of
Scarlatti. Still, the love of diabolical hand crossings, such as those found in
the early C major sonata; the tender lyricism of the E-flat sonata; and the
passionate drive of the D minor sonatas show that Soler and Scarlatti did share
something of a common heritage.
In the two and three movement sonatas from the classical period, the binary
structure of the preceding pieces is transformed into a nascent sonata-allegro
form. Also present in these works is the characteristic harmonic tension and
logic that identifies the music of the late eighteenth century as well as an
intense rhythmic drive that can, upon occasion, suggest scores of hungry cats
being summoned to the troth (e.g., second movement of the F major sonata).
While the "baroque" sonatas also have a strong motoric rhythm, the
more cadential harmony of those pieces makes their rhythm seem more integral to
their intent. In the classical works, on the other hand, the rhythm acts as a
rigorous background for the struggle between larger harmonic schemes. The
sonata in F major, however, includes a reactionary twist: its third movement is
an intento, or fugue, whose marvelously intricate counterpoint suddenly gives
way to a thoroughly classical, seven-bar, quasi-operatic coda!
The changes in accidentals that occur periodically throughout the disc and the
embellishments not already added by the composer are supplied by the performer
in accordance with performance practise applicable to the style of eighteenth
century Spanish music. All repeats are observed except for those in the E-flat
major sonata (No. 16). Repeated passages tend to be more embellished the second
time through. The harpsichord was tuned to A=415.
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.
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Classical Music | Music for Harpsichord
Antonio Soler
Sonata No. 24 in D minor Play
Recorded on 09/08/1990, uploaded on 02/12/2009
Musician's or Publisher's Notes
The sonatas in G major, C major, E-flat major, and the two in D minor reflect the esthetic of the late baroque, as well as some of Scarlatti's influence. At the same time, however, the regularity of Soler's phrasing, as well as other differences in keyboard styles previously noted, demonstrates the independence of Soler's musical thoughts from those of Scarlatti. Still, the love of diabolical hand crossings, such as those found in the early C major sonata; the tender lyricism of the E-flat sonata; and the passionate drive of the D minor sonatas show that Soler and Scarlatti did share something of a common heritage.
In the two and three movement sonatas from the classical period, the binary structure of the preceding pieces is transformed into a nascent sonata-allegro form. Also present in these works is the characteristic harmonic tension and logic that identifies the music of the late eighteenth century as well as an intense rhythmic drive that can, upon occasion, suggest scores of hungry cats being summoned to the troth (e.g., second movement of the F major sonata). While the "baroque" sonatas also have a strong motoric rhythm, the more cadential harmony of those pieces makes their rhythm seem more integral to their intent. In the classical works, on the other hand, the rhythm acts as a rigorous background for the struggle between larger harmonic schemes. The sonata in F major, however, includes a reactionary twist: its third movement is an intento, or fugue, whose marvelously intricate counterpoint suddenly gives way to a thoroughly classical, seven-bar, quasi-operatic coda!
The changes in accidentals that occur periodically throughout the disc and the embellishments not already added by the composer are supplied by the performer in accordance with performance practise applicable to the style of eighteenth century Spanish music. All repeats are observed except for those in the E-flat major sonata (No. 16). Repeated passages tend to be more embellished the second time through. The harpsichord was tuned to A=415.
David Schrader
More music by Antonio Soler
Sonata in D major
Quintet No. 6 in G Minor
Sonata in F-sharp Major, R 90
Sonata No. 13 in B-flat Major
Sonata No. 21 in g minor
Sonata in d minor
Sonata No. 12 in c minor
Sonata No. 8 in d minor
Sonata in f-sharp minor (Allegretto)
Sonata No. 2 in E-flat Major
Performances by same musician(s)
Quintet No. 6 in G Minor
Harpsichord Concerto in d minor
Chromatic Fantasy and Fugue in d minor, BWV 903
Toccata and Fugue in d minor, BWV 565
Sonata in c minor, K. 129
Suite from Dido and Aeneas
Sonata No. 2 in E-flat Major
Sonata in C Major, K. 513
Il Pianto di Maria
Sonata in C Major, Op. 5, No. 3
Classical Music for the Internet Era™
To purchase the CD or download this performance, click here.
Cedille Records is the recording label of The Chicago Classical Recording Foundation, a publicly-supported, not-for-profit, organization devoted to promoting the finest musicians, ensembles, and composers in the Chicago area by producing and releasing their efforts on audiophile-quality recordings. The recordings and their promotion are designed to stimulate interest in these performers and composers and bring their artistry to a wider audience. Cedille Records is also dedicated to promoting interest in neglected areas of the classical repertory by presenting masterpieces that have been overlooked by other recording companies.