Spanish composer
Antonio Francisco Javier José Soler Ramos, usually known as Padre ('Father', in the religious sense) Antonio Soler, known in Catalan as Antoni Soler i Ramos (baptized 3 December 1729 – died 20 December 1783) was a Spanish composer whose works span the late Baroque and early Classical music eras. He is best known for his many mostly one-movement keyboard sonatas.
Early life and training
Soler was born in Olot (Catalonia, Spain) in the County of Besalú. In 1736, when he was six, he entered the Escolania of the Monastery of Montserrat where he studied music with the resident mestre Benet Esteve[1] and organist Benet Valls.[2][3] In 1746, when he was only 17, he was appointed Kapellmeister in Lleida, and some sources say he also exercised that position at La Seu d'Urgell.[4][5][6] In 1752, when he was 23, he moved to Castile, having been admitted to the Monastery of San Lorenzo del Escorial for his talents as a composer and organist. His fame soon led Domenico Scarlatti and José de Nebra to accept him as a student, completing his high-level training there.[7]
Life at El Escorial Monastery and Royal Court
Soler entered the monastery as a novice in 1752, at the age of 23, and took holy orders a year later, embarking on a busy routine as a Hieronymite at El Escorial (near Madrid). There he studied under José de Nebra and (according to some sources) Domenico Scarlatti, before teaching in his own right. He was appointed music teacher for the Infantes Antonio and Gabriel, sons of Carlos III.[8]
While there, he was known to have 20-hour workdays, in the course of which he produced more than 500 compositions. Among these were around 150 keyboard sonatas, many believed to have been written for his pupil, the Infante Don Gabriel, a son of King Carlos III. Other pieces include Christmas villancicos[9] and Catholic liturgical music, including Masses. He died in the monastery of San Lorenzo del Escorial.
Compositions
Padre Soler's most celebrated works are his keyboard sonatas, which are comparable to those composed by Domenico Scarlatti (with whom he may have studied) but are more varied in form than those of Scarlatti, with some pieces in three or four movements; Scarlatti's pieces are in one (mostly) or two movements. Soler's sonatas were cataloged in the early twentieth century by Fr. Samuel Rubio and so all have 'R' numbers assigned.
Soler also composed concertos, quintets for organ and strings, motets,[10] masses and pieces for solo organ. He also wrote a treatise, Llave de la modulación ("The Key to Modulation", 1762).
Soler's Six Concertos for Two Organs are still very much in the repertoire and have often been recorded. A fandango authored by Soler, and probably more often performed than any other work of his, is claimed by Isidro Barrio and some others to be of doubtful authorship.[11][12]
"I told him (i.e. Samuel Rubio - ed.) that I had serious doubts about Soler's authorship of this work. Rubio then subjected the work to a thorough examination and informed me that I was right: 'I am compelled to cast a doubt on Soler's authorship of this work although I had previously confirmed it (...). I hope to explain in greater depth at a later date the reasons which make me doubt the authenticity of the work. At the time being, however, we can declare the hunt open for the true author.'"
