Tracing the footsteps of Princess Amalie of Saxony, Coloquio 6 revives the spirit of Harmoniemusik, intimate wind ensembles that once brought the most beloved music of the day to audiences everywhere. This musical journey features works by Amalie herself, her mentor Carl Maria von Weber, and captivating arrangements of operas by Mozart and Rossini.

Antonio Soler was a scholar, musicologist (he wrote about the history of Spanish music), composer and virtuoso keyboard player. He was in the service of the Spanish Royal family, and personal tutor of the Infante Gabriel de Borbon. Soler wrote a great quantity of solo keyboard sonatas for the use at the Royal court. They are one movement works, much in the style of the sonatas by Domenico Scarlatti (whom he knew personally). The sonatas abound in instrumental virtuosity, daring harmonies and attractive melodies in pre-classical style. Soler wrote the 6 Concertos for 2 Harpsichords for his royal pupil. Judging by the brilliance and vitality of these popular works the composer and his pupil must have hugely enjoyed themselves playing them. These important works are performed here by the harpsichord duo L’entretien dex clavecins, formed by Agustin Alvarez and Eusebio Fernandez-Villacanas, playing magnificent copies, build by Andrea Restelli, of a Taskin and Donzelague harpsichord.

Before his thirtieth birthday the young Catalan composer Antonio Soler had become maestro di capilla and organist at the Escorial palace, positions he held for hte rest of his life. Many of his keyboard sonatas were written for Don Gabriel, son of King Carlos III, and they represent his greatest compositional achievement, effortlessly embodying the dual influences of Domenico Scarlatti and the emergent Viennese school. Each sonata in Volume 6 has its own distinctive character, from the ingenious contrasts of No. 63 in F major and the harmonic sophistication of No. 64 in G major to the delicious Iberian colours evoked in No. 66 in C major.

His appointment in 1757 as maestro di capilla and organist at the Escorial, the royal palace established by Philip II of Spain, allowed Antonio Soler to mix with fellow court musicians, among whom was Domenico Scarlatti, whose influence was to remain profound. Soler wrote some 150 sonatas, his greatest compositional memorial, most for the young prince, Don Gabriel. The works in this volume reveal Soler’s mastery of dashing bravura and his exploitation of a full keyboard range in Sonata No. 88, felicities of hand-crossing in Sonata No. 89, and his awareness of the contemporary influence of Haydn in Sonata No. 92.

The fourth installment in Naxos’ Soler keyboard sonata cycle introduces 25-year-old pianist Mateusz Borowiak, who has begun to make a name for himself on the competition and European festival circuit. While his playing is sensitive and stylish with regard to ornaments and phrasing, Borowiak is not afraid to exploit the modern concert grand’s dynamic range and potential for tone color. Listen, for example, to the effective crescendos and sudden contrasts in the C minor No. 48’s introductory measures, to the cross-rhythmic accents that punctuate the G major No. 45’s broken octaves, or to the shaded precision of the C major No. 50’s two-handed unison passages. Sample the A major No. 53’s differentiated detached and sustained articulation, not to mention those impressively calibrated trills. The intimate yet full bodied sonics are remarkably lifelike, as if Borowiak is working his magic just a few feet away from you. In short, this disc, along with numerous live performances posted on YouTube, clearly positions Borowiak as a piano talent to keep on your radar.

-- Jed Distler, ClassicsToday.com

A top-quality conclusion to a series which has given some brilliant and idiosyncratic music.

This disc is announced as the final instalment of Gilbert Rowland’s Naxos cycle of the complete Sonatas for Harpsichord by Padre Antonio Soler. I haven’t heard all of the earlier volumes, so I won’t attempt any kind of comprehensive statement about the project as a whole, but my impression, for what it’s worth, is that the series has got better and better as it has gone on. I agree with Patrick Waller (see his review of Volume 12) that the recorded sound has improved in later volumes; it was rather clattery and echoing on some of the early discs, but there are certainly no problems with the sound on this final volume. My sense is also that Gilbert Rowland has come to sound more and more at home with the music, his playing increasingly relaxed, his phrasing more flexible and his range of tonal colours more various. Whether or not these (remembered) impressions are correct, what I can say with some confidence is that this final disc is full of exciting and exhilarating music, played with considerable panache.

Spanish musical traditions are, of course, a central element in Soler’s harpsichord music; traditional Spanish dance rhythms are very clearly audible in the almost seven minutes of the central allegro (marked ‘assai spiritoso’) of Sonata 66, played here with sympathetic (and technically assured) flair; Spanish idioms are also very much to the fore in the opening Cantabile of Sonata 60. At times (as in Sonata 76) the influence of Domenico Scarlatti, Soler’s erstwhile teacher is evident. But Soler clearly listened rather more widely - at times the music prompts one to think of C.P.E. Bach.

Elsewhere, Soler’s fugues would satisfy all but the most pedantically rigorous of Germanic theorists. The fugal third movement of Sonata 66 is a delight, though some of its modulations might perhaps upset that hypothetical pedantic theorist; surely even he (or she?) would find little to complain about in the ‘intento a 4’ which closes Sonata 68, beautifully worked out and technically very accomplished.

But if Soler could be ‘correct’, he could also be somewhat shocking. The allegro in 6/8 of Sonata 60 is full of unexpected leaps and begins with some unconventional harmonies (“almost Bartókian” says Rowland in his characteristically useful booklet notes) that even now retain some of their power to startle.

Rowland responds to the range of this music and, on this disc at any rate, plays it with real innerness. At times here, as on some of the earlier volumes, I wondered whether one or two of the pieces might not work better still on the organ, but that is a quibble which shouldn’t detract from our gratitude to Rowland and to Naxos for the completion of this substantial project. I believe that the only sonatas by Soler which were ever published during the Eighteenth Century were those which appeared as XXVII Sonatas para clave, published around 1796 by Richard Birchall of London. So there is an aptness in the choice of a British (Rowland was born in Glasgow) harpsichordist as the protagonist for this series. In this final disc he plays a two manual instrument by Andrew Wooderson, made in 2005 and modelled on 1750 instrument from the Goermans workshop in Paris – and with its bright (but not excessively so) sound and clear articulation it enables Rowland to do something like full justice to this engaging music.

-- Glyn Pursglove, MusicWeb International

A super-budget introduction to the riches of the Spanish piano repertoire, including many critically acclaimed recordings. While Domenico Scarlatti was born in Naples, he spent the greater part of his career on the Iberian peninsula, and died in Madrid in 1757 as the composer of 555 keyboard sonatas which would, more than any other single body of work, bring Spanish idioms into the mainstream of European classical music. Many organists and keyboard composers preceded him, but few if any could match his spirit of caprice and restless invention as he fused Hispanic rhythms with the fairly new form of the keyboard sonata. Thus it is fitting that Scarlatti is the earliest composer on this 'Spanish Explorer' box. His music was soon taken up as a model by native composers of subsequent generations, such as Manuel Espona (1714-1779) and Antonio Soler (1729-1783), in writing quirky single-movement sonatas of unpredictably arching melodies and sometimes frenetic developments which evoke the spirit of native dances such as the fandango. While CD1 of this box is an imaginary 'opera for piano', staged by Jean-François Dichamp, the principle could be extended to the box as a whole. Dichamp's opera is arranged around the pillars of the monumental cycle of Goyescas by Enrique Granados (1867-1916). This cycle, along with the Iberia of Isaac Albéniz (1860-1909), then extended the reach of Spanish piano music and defined it's character in a late-Romantic world. While neither Albéniz nor Granados were modernists by temperament, it is tempting to speculate how they and their music would have developed but for their early deaths in the first years of the last century. Instead the creative flame was passed to Manuel de Falla (1876-1946) and Joaquín Turina (1882-1949) and while de Falla's original output for piano is relatively vestigial, it includes the astonishing Fantasia Baetica which invites comparison with contemporary piano masterpieces by Bartók and Prokofiev in it's new pouring of 'national' character into the virtuoso piano tradition. As the most recent composer in this Spanish Explorer box, Federico Mompou (1893-1987) is also the least definably 'Spanish' - not least because he was a Catalan born and bred. The music itself defies close analysis, much like that of his model Erik Satie, and yet it's aura of intense contemplation has proved deeply rewarding for countless pianists and listeners alike.