Fr. Antonio Soler's Sole Abode

Started by SurprisedByBeauty, November 23, 2016, 04:50:35 AM

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Todd




I previously listened to a two harpsichord set of the Concertos for Two Keyboards.  I decided I should try the organ version.  Unsurprisingly, I rather like this, but somewhat surprisingly, I prefer the harpsichord version.  This set is obviously heavier and never generates the same rhythmic snap.  It does, however, sound more tonally varied.  Pick your poison.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Todd




[This will be cross-posted in the "New" Music Log thread]


Well, hot dog!  Here's an unexpected delight.  Soler wrote a half dozen quintets for keyboard and string quartet, and here an all-Spanish group of musicians deliver the goods.  Rosa Torres-Pardo, whom I've heard in Albeniz and Balada, and the Cuarteto Breton, whom I've heard in Guridi, play all six works on both discs with an irresistible sense of fun and energy and a generally very sunny disposition.  To be sure, this is as non-HIP as a recording can get, but so what?  For probably the first time in my listening experience, I thought to myself "Hey, that sounds a lot like Boccherini", and meant it in a purely positive way.  The buoyancy, gentle rhythmic swagger, and light but not slight music just grooves.  Ms Torres-Pardo plays her part in a very Soler-Scarlatti type of way, really delivering - to the point where I would very much like to hear what she can do solo in Soler - but really, it's the Breton who make the disc work.  Being familiar with Soler's keyboard writing, I was pleasantly surprised to hear how well he writes for strings.  To be sure, the string writing does sound rather influenced by music of the time (ca 1770s), but then so does most of the music of time, or at least the music I've heard from the time.  These works are also available in harpsichord and strings and organ and strings (!) alternatives, and perhaps one day I try one of those, but this twofer caught me off guard, in a most pleasant way.  This is why it's always good to try new things.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Todd

#22



I took some time to work through the nine volumes of Bob Van Asperen's Soler cycle on Astree that Amazon has available for streaming.  Asperen is close to the polar opposite of Barbara Harbach.  His playing is energetic and energized, generally speedy, and less focused on detail and more on drive.  That's not to say that Asperen skimps on detail, just that his approach is not as perhaps overly prepared as Harbach's.  There's also something of the sense of adventure and discovery evident in Scott Ross' great Scarlatti set.  One almost gets the sense that the keyboardist just learned a sonata and was eager and excited to record it.  It makes for at times bracing listening.  Almost all of the sonatas come off well, with the Fandango a most pleasant diversion.  The individual standout sonata, though, is 60b, from volume eight.  It's something.  I think I should try Gilbert Rowland's set, which, as luck would have it, can be streamed in its entirety.

The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Todd




Here's a surprising disc.  I don't recall ever even having seen the name André Gorog before.  But this recording popped up while looking for things to stream.  I'm glad it did.  This is punchy, staccato laden, snappy and generally quite fun playing.  It does not offer the last word in nuance - it's sort of the opposite of Mare Luise Hinrichs - but Gorog plays some fine Soler.  The Fandango sounds just nifty.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Todd




Some choral works from Soler.  Undeniably baroque and very Spanish sounding - meaning it shares some stylistic similarities with other Spanish baroque music I've listened to - the disc starts off a bit less than maximally engaging, but quickly picks up.  Not Bach or Handel level, perhaps, but well worth a listen.  The ensembles, named after the composer, do some good work.  Maybe Glossa can do a complete Soler set.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Todd

#25



I worked my way through Gilbert Rowland's Soler set, and I have to say, it seems like a Goldilocks set.  More energetic and engaging than Harbach, and more meticulous and studied - though not overstudied - than Asperen, it seems to get everything just about right.  The now vintage recordings are a bit more distant than the other two sets, and the instruments, as recorded, lack some body, but those are minor concerns.  Rowland brings out all the goodness in Soler, almost to Marvin levels of commitment at times.  I should probably try Rowland's Scarlatti now.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

André

Rowland's Scarlatti is my hands down favourite for the long run. AFAIK only half of the sonatas have been issued. I've never been able to complete the series.

Mandryka

#27
Well I just did a scientific experiment. I listened to 117 and 130, they're the first two sonatas in Asperen v.12, and I listened to them played by Asperen and Rowland. In op 117, what Todd said seemed pretty true, Rowland is indeed "more meticulous and studied - though not overstudied - than Asperen." But in 130 Asperen seems to me to find a lyrical, poetic, melancholy, which eludes Rowland. Go figure.

Wovon man nicht sprechen kann, darüber muss man schweigen

Todd



Until I purchased this recording, I had not even seen the name Mladen Čolić.  I only bought this recording when I decided to buy all extant Naxos recordings of Soler sonatas on piano, part of a big lump of repertoire.  This is much, much more than that.  Čolić's recital offers some of the very best Soler playing I've heard, right up there with Marie-Luise Hinrichs and Frederick Marvin.  Stylistically, he is very different than Hinrichs, who sort of inhabits her own artistic world.  He's closer to Marvin, but then he's not really like Marvin.  Čolić's playing surpasses either Hinrich's or Marvin's in sheerly pianistic terms, and at least matches Borowiak in the Naxos series. 

But Čolić goes further.  There's no way that this obvious contract job of consecutive sonatas represents the pianist's favorite Soler, but you'd never know that from the playing.  From first note to last, he imparts energy, wit, charm, fun - so much fun - with C Major as sunny as the key can get, and a sense of fresh discovery, delivered with felicitous touch after felicitous touch.  There are so many, in every movement of every work, it is impossible to pinpoint any one or ten or twenty.  He does especially well dispatching arpeggios quickly, cleanly, with each note distinct.  In multiple places, he very slightly delays a right hand note just that teeny tiny bit, to excellent effect each time.  His dynamic control is supremely fine and performed within a proper range - there's no hammering out unneeded fortissimo here.  He is content to find shade after shade between mp and mf in extended passages, though he plays louder or softer with ease and panache and a just right feel.  His rhythmic variegation matches his dynamic control. 

Čolić has a thin discography, only three titles, two of them on Naxos.  Some YouTube videos of him playing other repertoire are available.  Though I doubt it happens, I'd love to hear him record a broad array of repertoire, starting with Scarlatti and Mozart, and then moving on to everything else.  I fear he may end up more like Julian Gorus. 

A real find, and in excellent sound, to boot.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Dry Brett Kavanaugh

#29
Quote from: Todd on May 15, 2022, 06:57:44 AM


Until I purchased this recording, I had not even seen the name Mladen Čolić.  I only bought this recording when I decided to buy all extant Naxos recordings of Soler sonatas on piano, part of a big lump of repertoire.  This is much, much more than that.  Čolić's recital offers some of the very best Soler playing I've heard, right up there with Marie-Luise Hinrichs and Frederick Marvin.  Stylistically, he is very different than Hinrichs, who sort of inhabits her own artistic world.  He's closer to Marvin, but then he's not really like Marvin.  Čolić's playing surpasses either Hinrich's or Marvin's in sheerly pianistic terms, and at least matches Borowiak in the Naxos series. 

But Čolić goes further.  There's no way that this obvious contract job of consecutive sonatas represents the pianist's favorite Soler, but you'd never know that from the playing.  From first note to last, he imparts energy, wit, charm, fun - so much fun - with C Major as sunny as the key can get, and a sense of fresh discovery, delivered with felicitous touch after felicitous touch.  There are so many, in every movement of every work, it is impossible to pinpoint any one or ten or twenty.  He does especially well dispatching arpeggios quickly, cleanly, with each note distinct.  In multiple places, he very slightly delays a right hand note just that teeny tiny bit, to excellent effect each time.  His dynamic control is supremely fine and performed within a proper range - there's no hammering out unneeded fortissimo here.  He is content to find shade after shade between mp and mf in extended passages, though he plays louder or softer with ease and panache and a just right feel.  His rhythmic variegation matches his dynamic control. 

Čolić has a thin discography, only three titles, two of them on Naxos.  Some YouTube videos of him playing other repertoire are available.  Though I doubt it happens, I'd love to hear him record a broad array of repertoire, starting with Scarlatti and Mozart, and then moving on to everything else.  I fear he may end up more like Julian Gorus. 

A real find, and in excellent sound, to boot.

Yes, wonderful album. Plus his name looks so cool. I wish my name had these diacritics. Last year I listened to the Soler album by Vestard Shimkus, and I was impressed. Have you posted a review on the recording? I would love to read your opinion on the recording.

Yes, the Borowiak is vg.

Todd

Quote from: Dry Brett Kavanaugh on May 16, 2022, 06:15:50 PMHave you posted a review on the recording?


I am listening to the Naxos recordings in alphabetical order, so Shimkus is last.  I'll probably get to it in the next week or two, though I don't know if it will be good enough to inspire me to write much.  I will find out.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

milk

#31
Quote from: Todd on May 18, 2022, 07:43:21 AM

I am listening to the Naxos recordings in alphabetical order, so Shimkus is last.  I'll probably get to it in the next week or two, though I don't know if it will be good enough to inspire me to write much.  I will find out.
I just started listening to these and I like what I'm hearing so far. I'd only listened to HIP Belder previously. Like Scarlatti, a little Soler goes a long way but Soler might actually have a little more variation in what he did than Scarlatti. Tonight I'm listening to the Chernychko who does a fine job with this music which sounds baroque on the cusp of gallant perhaps. There some wonderful counterpoint, especially in the intento in the sonata in E Major.   

Dry Brett Kavanaugh

I agree that Borowiak and Čolić in the Naxos discs are very good players, but the works they played are not the best compositions among Soler's works. Recently I had a good time listening to the piano albums below. Their skills are not as excellent as Borowiak or Čolić, but good enough, and the works they played are very likable and artistic.








Todd





I finally picked up, or rather downloaded, the most recent Naxos Soler-on-piano release with Latvian pianist Daumants Liepiņš.  His recording covers three larger, multi-movement late sonatas.  In some ways, he's dealt a bad hand in the series.  First, there's a lot of repetition to the sonatas, with  minuets, more minuets, and then some more, and there's an overall sameness to the works.  The recording is also of the efficient rather than sumptuous variety, with a large piano plopped down in what sounds like a too small room.  Those caveats noted, in terms of pianism, Liepiņš is up there with Čolić and Borowiak in this series.  One need wait no longer than the repeated notes at the start of the recording to hear his evenness and control, and he displays nuanced touch everywhere, all the time.  In the concluding Allegro of R97, he plays a crazy even accompaniment while the right hand splashes out melodies with variegated dynamics and accents with a sense of ease.  The bouncy rhythm, which pervades the recording, is just nifty, and his crisp, even trills excite.  Seriously, Op 111 is in his repertoire, and I must hear it.  So, a not necessarily great Soler disc elevated by superb pianism by a young artist to watch.  There are almost too many of them now.  Almost.  (Well, not really.)
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

AnotherSpin

Quote from: Todd on March 24, 2023, 08:19:37 AM

I finally picked up, or rather downloaded, the most recent Naxos Soler-on-piano release with Latvian pianist Daumants Liepiņš.  His recording covers three larger, multi-movement late sonatas.  In some ways, he's dealt a bad hand in the series.  First, there's a lot of repetition to the sonatas, with  minuets, more minuets, and then some more, and there's an overall sameness to the works.  The recording is also of the efficient rather than sumptuous variety, with a large piano plopped down in what sounds like a too small room.  Those caveats noted, in terms of pianism, Liepiņš is up there with Čolić and Borowiak in this series.  One need wait no longer than the repeated notes at the start of the recording to hear his evenness and control, and he displays nuanced touch everywhere, all the time.  In the concluding Allegro of R97, he plays a crazy even accompaniment while the right hand splashes out melodies with variegated dynamics and accents with a sense of ease.  The bouncy rhythm, which pervades the recording, is just nifty, and his crisp, even trills excite.  Seriously, Op 111 is in his repertoire, and I must hear it.  So, a not necessarily great Soler disc elevated by superb pianism by a young artist to watch.  There are almost too many of them now.  Almost.  (Well, not really.)


Have you listened to recordings of Antonio Soler's works by Claudio Colombo? If so, what are your impressions?


Todd

Quote from: AnotherSpin on July 05, 2023, 10:49:58 AMHave you listened to recordings of Antonio Soler's works by Claudio Colombo?

No, and I will not.  There are questions as to how his recordings are made.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

AnotherSpin

Quote from: Todd on July 05, 2023, 11:13:23 AMNo, and I will not.  There are questions as to how his recordings are made.

If you don't mind explaining, what do you mean?

Florestan

Every kind of music is good, except the boring kind. — Rossini

AnotherSpin

Quote from: Florestan on July 06, 2023, 01:07:23 AMI'm not @Todd but take a look here:

http://www.pianosociety.com/threads/claudio-colombo.1990/#google_vignette

Yes, I saw it. So? Some people don't understand exactly how the recordings were made or who this Colombo guy is. Many people also don't know the difference between quality audio equipment and crap equipment, they don't distinguish between cables, they don't hear the difference between compressed and uncompressed files and so on. After all, what difference does it make? The sounds roughly correspond to the notes written on the paper, what more do you need?  8)


Todd

Quote from: AnotherSpin on July 06, 2023, 03:11:55 AMThe sounds roughly correspond to the notes written on the paper, what more do you need?

I need actual artistry.  You are free to listen to Mr Colombo.  I will not waste my time.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya