Antonio SOLER (1729-1783)
Keyboard Sonata no.93 in F major, op. 4/3 (1779) [25:07]
Keyboard Sonata no.94 in G major, op. 4/4 (1779) [19:43]
Keyboard Sonata no.95 in A major, op. 4/5 (1779) [25:27]
Evgeny Konnov (piano)
rec. 2019, Teatre-Auditori, Lloret de Mar, Spain
NAXOS 8.574344 [70:24]
This is the tenth volume of this Naxos series of Soler’s keyboard sonatas, played on the modern piano. The first release was back in 2011, and followed a thirteen-volume set of the same works played on the harpsichord. The label’s commitment to this relatively obscure Spanish composer is, to say the least, impressive. Only two of the previous volumes have been reviewed on this site (Volume 2 ~ Volume 3).
Soler’s working life as organist and composer was mostly spent in the service of the church, especially at the monastery of the Escorial, where he worked for the last thirty years of his life, much of it as maestro di capella. The Escorial had connections to the royal court and this allowed Soler to have contact, and possibly lessons, with Domenico Scarlatti. He also taught two of the sons of King Carlos III, and it is thought some of the more than 150 keyboard sonatas were composed for one of the princes, Don Gabriel.
Naxos is recording the sonatas in numerical order, which is not necessarily strictly chronological. Few are dated, though these from the opus 4 set are. Numbers 1 & 2 were in the previous volume, the sixth will presumably be in the next. This set of sonatas breaks away from the Scarlattian mode of one, and very occasionally, two movements established by the first ninety sonatas, and shows the influence of the new style emanating from Vienna. The Opus 4 set has four movements, each with the sequence Moderately slow – Fast – Minuet – Fast.
I won’t attempt to describe specifics of individual pieces, as it would achieve no useful purpose. Let me say that the seventy minutes listening to these three works was time very well spent; the music is always charming, graceful and tuneful, but also by turns witty, delicate and pensive, so everything you would hope for from keyboard music of this era. Think of Haydn’s sonatas with a little bit of Spanish colour à la Scarlatti added to the mix, and that will give you a good guide. If I’m honest, I actually preferred these to some, or possibly a lot, of the Haydn sonatas I have heard.
Uzbek-born Evgeny Konnov was the 2018 winner of the Maria Canals International Piano Competition of Barcelona. One of the prizes for winners of this competition is a contract from Naxos to record a volume in this series, which is appropriate since Soler was Catalan. A quick check suggests that there are no competitors for these three sonatas on the modern piano.
It is my practice to play new recordings whilst working at my computer, and if the music compels my attention, I take that as a good sign. Therefore, it is a measure of the quality of the music and the performances that I frequently stopped typing and just listened. Konnov conjures up a lovely sound from the piano, and projects Soler’s changing moods very well. I would love to hear my current piano passion, Vikingur Olafsson, play some Soler, but in the meantime, Konnov will do very nicely. And I am encouraged to explore some of the earlier volumes.
David Barker
