It is extraordinary
and certainly very interesting that
Naxos are running this complete series
of Soler’s entirely unknown sonatas
recorded by a single but very well known
harpsichordist at the same time as they
have asked a variety of performers to
record a series of Scarlatti sonatas
for the piano. Why do I connect them?
Well, Soler was probably
a pupil or certainly a close friend
and associate of Domenico Scarlatti
(1685-1757). The latter worked almost
all of his life in Spain. Soler was
a Spanish priest, and virtuoso performer
… an interesting combination. How he
found time to practice I’m not sure
considering all of his priestly duties
… and he was apparently very devout.
Still, almost all of his output is secular,
i.e. for the harpsichord alone.
Gilbert Rowland has
written some fascinating notes to accompany
this release. In discussing Soler’s
style he comments: "Despite his
probable debt to Scarlatti many of Soler’s
sonatas show his own personality very
much in evidence". He adds "but
also Scarlatti’s influence is found
to a marked degree both in form and
in language". He does not however
explain exactly where Soler’s own musical
character can be found and I have to
say that for me Soler is practically
a clone of his elder and none the worse
for that. In fact later in the notes
Rowland writes "As with Scarlatti,
Spanish folk-song and dance elements
feature prominently". He also points
out that "Soler was much influenced
by the changing musical fashions of
the second half of the 18th
Century and some of the single movement
sonatas, as well as the four movement
ones" indicate the "approach
of the Viennese classical school".
These sonatas have
been very carefully chosen so that they
work in contrasting or complementary
pairs; for example the first two in
D major. Most sonatas are single movement
pieces as are Scarlatti’s but there
is one group of three which work well
together: numbers 12, 13 and 14, all
in G major. The last work on the disc,
however, is a definite four movement,
twenty minute sonata which includes
a Minuet and an Allegro finale. This
appears to date from the last year of
Soler’s life. One is immediately struck
by the ‘galante style’ of the Moderato
opening movement. However the work remains
what it actually is, a mediocre piece
in the classical style by a contemporary
of Mozart. Whereas the earlier single
movement works have an inner vitality
and originality which is fascinating;
it is these to which I shall return.
The particular pieces
here which stand out for me are: the
D major sonata, No. 84, with its lively
Spanish rhythms, echt Scarlatti; the
F minor Sonata, No. 72, with its "relentless
drive and vitality" despite its
seriousness; and No. 13 in G major with
its "rich textured virtuosity"
and pompous fanfare opening.
I have to add that
I do not like the recorded sound of
this harpsichord. It is far too brash
and bright even if the treble is turned
down. In fairness to Naxos the instrument
itself is probably to blame. It is a
two manual job by Andrew Wooderson (1998).
Couldn’t Gilbert Rowland have varied
the sounds more, especially on a two
manual instrument? The above-mentioned
D major sonata fares particularly badly
on this account. I wonder too about
the venue, a new one for me, at Epsom
College. Were there any soft furnishings
to soak up the brittle sound of the
harpsichord?
If you are collecting
Soler’s sonatas then nothing will get
in your way. For my part, I might audition
another volume before I decide whether
to devote shelf-space to this series.
Gary Higginson
see also review
by Michael Cookson
Gilbert Rowland (harpsichord)