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Padre Antonio Soler: Fandango & Sonatas

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Padre Antonio Soler: Fandango & Sonatas

  • CDR 90000 004
Play Cedille Selects
    • Fandango in D minor (12:12)

    • PADRE ANTONIO SOLER (1729-1783)

      Fandango in D minor (12:12)

    • Sonata No. 4 in G major (4:38)

    • Sonata No. 4 in G major (4:38)

    • Sonata No. 9 in C major (5:31)

    • Sonata No. 9 in C major (5:31)

    • Sonata No. 16 in E-flat major (6:44)

    • Sonata No. 16 in E-flat major (6:44)

    • Sonata No. 24 in D minor (7:41)

    • Sonata No. 24 in D minor (7:41)

    • Sonata No. 25 in D minor (6:07)

    • Sonata No. 25 in D minor (6:07)

    • I. Andantino (5:57)

    • Sonata No. 60 in C major (10:02)

      I. Andantino (5:57)

    • II. Allegro vivo (4:02)

    • II. Allegro vivo (4:02)

    • I. Cantabile (9:10)

    • Sonata No. 63 in F major (19:51)

      I. Cantabile (9:10)

    • II. Allegro (5:42)

    • II. Allegro (5:42)

    • III. Intento (4:51)

    • III. Intento (4:51)

Album Description Download Full CD Booklet

Keyboard artist David Schrader, a favorite of the Chicago Symphony Orchestra, made his solo recording debut with this CD of harpsichord works by Spanish composer Padre Antonio Soler.

Soler's compositions embrace Spanish folk melodies, show a fondness for syncopations, and require virtuosity from the performer. Soler's work bridges late Baroque and early Classical styles.

"Like his illustrious predecessor at the Spanish court, Domenico Scarlatti," writes David Schrader in his program notes,"Soler also enjoyed the patronage of a member of the royal family . . . While Scarlatti's influence on Soler is evident, it is well to note some salient differences in the two composers' works for keyboard. Soler composed more sonatas in a relatively moderate tempo than did Scarlatti; the acciaccaturas (dissonant notes played quickly in between harmonic tones) so germane to Scarlatti's style rarely appear in Soler's works; and Soler made frequent use of Alberti bass patterns, which Scarlatti avoided. Similarities, however, include the demand for virtuosic technique, a fondness for syncopations, and a thorough infusion of Spanish folk music."

The instrument used in the recording (an 8-foot single-manual harpsichord) was built by Paul Y. Irvin of Glenview, Illinois in 1989. It has a five-octave range, two sets of unison string, and a buff stop. Its design was inspired by the sound and acoustical design of a small 1681 Giusti harpsichord now in the Germanisches Museum, Nürnberg.

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Program Notes

Album Details

Total Time: 73:51

Recorded: Sept 8 & 9, 1990 at WFMT Chicago
Producer: James Ginsburg
Engineer: Bill Maylone
Front Cover: The harpsichord used on this recording. Photo by Andrew Halpern
Notes: David Schrader

© 1994 Cedille Records/Cedille Chicago

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