Program:
All compositions by Padre Antonio Soler

1) Sonata D major, Rubio 92 [5:22]
    Allegro con Ayre
2) Sonata G major, Rubio 94 [7:41]
    Andante gracioso
3) Sonata G major, Rubio 94 [4:52]
    Allegro non troppo
4) Sonata E minor, Rubio 94b [8:49]
    Minuet I-Maestoso
    Minuet II Allegro molto da capo

5) Sonata G major, Rubio 94b [4:10]
    Allegro
6) Sonata D minor, Rubio 104 [2:26]
    Allegro
7) Sonata F major, Rubio 56 [9:19]
    Andante cantabile
8) Sonata B-flat major, Rubio 62 [6:08]
    Allegretto espressivo
9) Sonata B-flat major, Rubio 62 [5:27]
    Allegro spiritoso

Total time: 54:22
Released: 1999

Label: ANALEKTA fleurs de lys (FL 2 3116)
Made in Canada
Distributed by MUSICOR

Review by Joe Natoli :

By now, if you have read my reviews of Joseph Petric's other CD compilations, you know that I have repeatedly been impressed by the depth and variety of his talent and repertoire.  In short, I think I have become one of his biggest fans, because of his chameleon-like ability to adapt to any musical environment with complete authenticity and command.   This CD entitled "Padre Antonio Soler - Nine Sonatas" is yet another delight and has not disappointed me.

Antonio Soler was born in 1729, almost 45 years after J. S. Bach.  Among his teachers was Scarlatti, from whom he probably developed his predilection for the keyboard sonata form.  Some of his most attractive works, as you will hear on this CD, are in this genre.  It is interesting to note however, that for a period, Soler was keyboard instructor to the talented Prince Gabriel (1752-1788), thanks to whose interest Soler composed not only numerous sonatas, but also his six string quintets with organ and his six concerti for two organs. According to Soler's necrology, his desire to please Prince Gabriel led him also to construct a small, square stringed keyboard instrument ('afinador' or 'templante') to show the difference between the smaller and larger semitones and tones. So one might, with some degree of legitimacy, state that this innovative monastic was one of the earliest microtonalists.  One can deduce therefore, without too much presumption, that Soler's love of organ composition as well as his desire to experiment with devices like the 'afinador' would have made the accordion an especially palatable instrument for his creative genius, especially if the modern chromatic free bass accordion had existed in his lifetime.

How appropriate then for Joseph Petric to choose Soler as the exclusive composer on this CD.  Firstly, the listener is afforded the chance to hear what elegance the composer would have created for the accordion, if history and time had not kept them apart..  Secondly, Mr. Petric's intimate musicological knowledge of the "correct" way to perform composers of this period should be especially enlightening to accordion fans, since they rarely get the opportunity to hear such a schooled and authentic performance on their instrument.  I have had the misfortune of listening to other unschooled concert accordionists whose exceptional talent could not possibly overcome their obvious lack of stylistic familiarity and education.  How exciting to hear both talent and education coming together in such a perfect amalgam where every ornament, every phrase, and every nuance will touch your musical sensitivities in a way you are not soon to forget.  Also, Soler's music is so happy, positive, colorful, and uplifting, one can easily sense the care and love that went into every note of his compositions, glorifying the gift of genius bestowed upon him by his Creator.  The accordion, which you will most likely agree, would have received a gratifying nod of approval from Padre Soler as an excellent choice in conveying his celebration of life through music.  And I am certain Mr. Petric's performance of this music would also have received that same approving nod.

Before I discuss the music however, let me digress for a few moments into a discussion about the instrument used on this recording.  After having read the liner notes to this CD, I have to admit my complete surprise about what type of accordion Mr. Petric uses these days.  I had assumed, even though I had not mentioned it in previous reviews, that he had always been performing on a Hohner Gola.  But such is not the case (at least for the last 4 or 5 years).  Let me quote a paragraph from the liner notes that states what his instrument of choice actually is:

"Concert Accordion: First row Chromatic C system right hand, left hand nine row combination stradella with three row chromatic free bass (bassetti).  Designed by Joseph Petric, March-May 1994.  Engineered, built and tuned by Leo Niemi, Sudbury, Canada.  Newly patented reed blocks, reed chambers, sound posts, sound holes, resonating chambers silicone treatment, and wood combinations throughout.  Reeds cut from Swedish blue steel.  Built April 1994-July 1996.  Tuned at A440."

At any rate, let’s talk about the music.  The Sonata in D Major, is a great opener on the first track, and the listener is greeted at once with beautifully shaped phrases, tantalizing dynamics, and truly multi-dimensional playing.  The composition and the performance, each complement one another perfectly.  This is one of the most energetic and most uplifting pieces in the collection along with my other favorites, the Sonatas in G Major (track 3), G Major again (track 5), D Minor (track 6), and Bb Major (track 9).

I am especially amazed at Mr. Petric's ability to execute very delicate yet technical passages at pianissimo with extremely clear enunciation of each note (for example in the Sonata in D Minor in track 6).  It is very difficult to get the accordion reeds to speak at this level, yet his touch and bellows control enables these passages to defy the physics of his instrument and come through with absolute clarity.   This Sonata in D Minor is without a doubt my favorite in the entire compilation.  It is an exciting and especially clever piece, which starts out thematically almost like the first track.  Soler beautifully weaves runs and phrases twisting and turning in harmonic and stylistic directions that only true genius can take the listener.  It is a short composition, but will have you out of breath with excitement by the end of its 2 minutes 26 seconds.

The more subdued and contemplative selections like the Sonatas in G Major (track 2), E Minor (track 4), and F Major (track 7), give Mr. Petric a chance to exploit the beauty of his instrument by providing even more time and focus for expertly shaped notes, trills, ornaments, and longer more sustained phrases.  The recurring minor theme in the F Major Sonata (track 7) is especially poignant and lovely and is another of my favorite passages.  Again both the compositions and the performances are so exquisite, I have a hard time confining my comments to one or the other exclusively.

All in all, each track on this CD has its own special and unique charm, and surely the listener will savor something memorable from each one.   Fans of the accordion, and art music in general, will fall in love with this CD and will most likely agree with me that this is a successful labor of love for both the composer and the performer.

As an aside, I should mention that while taking this wonderful historical musical journey with Soler and Joseph Petric, I had hoped for the sake of the readers of this review, to post a picture of Antonio Soler.  I couldn't remember having ever seen his portrait myself.  Interestingly enough, I discovered that Soler disliked having his portrait done, possibly because he was a man of humility and simple means.  In fact, during his correspondence with Padre Martini in the 1776-1771 time frame, he even refused Martini's request to send a portrait of himself, even though he was sending volumes of his own historical writings at the time.  Joseph. Petric, unlike Padre Soler however, is more than willing to have his picture on the CD jacket, which is a good thing.  Because the artistic design of the CD jacket (courtesy of Clive Allen and Lindsay Lozone), which includes a kind of surrealistic mirrored image of Joseph hurling his accordion upwards, is very hip and creative, even in the context of today's very competitive digital graphics design market.

Finally, the composer’s own words give us a rare glimpse into his personality and seem appropriate text with which to end this review:

"What good does it do if a work is well written but stirs no feelings in the listener? Many people judge music on the basis of its notation and do not know how it sounds. Such people claim this right for themselves although they would do better not to practice it."

Please Note: Any supporting or opposite opinions to this review are welcome and can be published in tandem with this review if so requested.