Padre Antonio Soler

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 Catalan composer whose works span the late Baroque and early Classical music eras. 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. 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 maestro Benito Esteve and organist Benito Valls. In 1744, 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. Ministerial lifestyle : Soler took holy orders at the age of 23, and embarked on an extremely busy routine as a Hieronymite in El Escorial, Madrid with 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 and Catholic liturgical music, including Masses. He died in the monastery of San Lorenzo de El 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, 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 once attributed to Soler, and probably more often performed than any other work of his, is now thought by some to be of doubtful authorship.