ANTONIO SOLER FANDANGO PDF

He is best known for his many mostly one-movement keyboard sonatas strongly influenced by Domenico Scarlatti , which constitute a very important, quite underrated, contribution to the harpsichord , fortepiano and organ repertoire. In , when he was six, he entered the Escolania of the Monastery of Montserrat where he studied music with the resident maestro Benito Esteve and organist Benito Valls. In , he was simultaneously appointed organist and subdeacon at the Cathedral of La Seu d'Urgell. Later in life, he was chapel master in Lleida and at the Royal Court in El Escorial , in which latter venue he continued his musical studies.

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Continue Shopping. David Schrader. 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 It has a five-octave range, two sets of unison string, and a buff stop. Although Padre Antonio Soler composed numerous works for the church and other venues, he is best known for his keyboard sonatas.

He entered the Hieronimite monastery at El Escorial, the large palace and college cum monastery established a century and a half earlier by King Philip II, taking the habit on September 25, and making his life profession as a monk on September 29, Soler became maestro de capilla at El Escorial in , upon the death of the incumbent maestro. Similarities, however, include the demand for vituosic technique, a fondness for syncopations, and a thorough infusion of Spanish folk music.

Born into the latter part of the baroque period, Soler lived to compose music reflective of a later tradition. The pieces on this recording range from the one-movement sonatas that figure forth the work of Scarlatti to two and three-movement sonatas written in a more classical style. The Fandango is a dance of courtship that originated in Andalusia the southern part of Spain in the early eighteenth century.

It had become popular with the aristocracy by the middle of the century and was represented by composers other than Soler, most notably Luigi Boccherini, who included a fandango in one of his string quintets.

The dance is of a passionate character, to say the least, and was known to raise just enough prurient eyebrows to be attractively naughty to its hearers. It is remarkable that the composer managed to sustain such energy and interest over measures of music. The virtuosity and imagination ever present in this fandango — handcrossings, trills, syncopations, all that can be brought forth on the keyboard — is combined with Spanish folk music to produce a truly sizzling dance.

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 sonataallegro 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 feeding trough e. In the classical works, on the other hand, the rhythm acts as a rigorous background for the struggle between larger harmonic areas e.

The sonata in F 6 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, quasioperatic 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 practice applicable to the style of eighteenth century Spanish music.

All repeats are observed except for those in the E-flat major sonata No. Repeated passages tend to be more embellished the second time through. Your Shopping Cart Close. Store Share. Sonata No. Andantino Allegro vivo Cantabile Allegro Intento Program Notes Download Album Booklet. David Schrader Scarlatti on Fortepiano.

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