Spanish Harpsichord Music Reviews by John Collins

British Harpsichord Society
www.harpsichord.org.uk


Alberto José Gomes da Silva: Sei Sonate per Cembalo ed Gerhard Dodererpublished by Scala Aretina as Volume 2D £30.00

Whilst all harpsichordists are well aware of Scarlatti and Soler, relatively few include in their recitals the sonatas by their Spanish contemporaries Albero and Blanco de Nebra despite their being available in good modern editions. How many harpsichordist, however, could name any of the numerous contemporaries and predecessors of the two main composers of harpsichord music in Spain, many of whom left a substantial corpus of compositions in MSS? It should not be forgotten that there were no printed editions between Correa de Arauxo's Facultad Orgánica of 1626 and the Seis Fugas para Clave o Fuerte Piano by Sessé y Balaguer published in 1773. Many of the compositions would have been considered suitable for organ as well, pedals being used only for long held bass notes. Very little of this voluminous repertoire has been made available in good modern editions, but at last Spanish musicologists are starting to make available the treasures buried deep in numerous museum and cathedral archives.

Scala Aretina, based in Mollerussa, Spain, is a new Editorial dedicated to works from the Peninsular. There are currently 3 Series in progress; two contain Vocal music in both Latin and the vernacular, and a third series is dedicated to keyboard music. A fourth series devoted to works from Portugal has just been commenced. Some of the volumes published in the keyboard series contain works written for the divided keyboard of the Spanish organ and are therefore not practically suitable for the harpsichord, requiring a distinctive tone-colour for the voice carrying the solo. Other volumes contain works that are indeed eminently suited to stringed keyboard instruments; I have chosen four of these to review. The objective of the editor is to produce a good computer-set edition in modern clefs with a brief introduction giving details of the composer and the works. There is no critical apparatus, but although they are not intended as scholarly editions, these editions are carefully produced to a high standard of desk-top publishing at a very reasonable price. It is the intention of the editor to publish works which in many instances have never been printed before- with the enormous quantity of keyboard music particularly from the 18th century still awaiting scholarly attention in Spanish libraries and archives, this initiative is to be commended. Further details can be found on the Scala Aretina website.

Title: 3 sonatas para clavecin by Freixanet Edited by Javier Menéndez, published by Scala Aretina Ediciones Musicales. Serie C Vol 1C

These three sonatas are by a composer about whom very few biographical details are known; it is presumed that the composer was a Joseph Freixanet active in the cathedral at Lérida in the 1750s. In the MS in which they are preserved they are actually numbered from 3-5, from which we must infer that the first two have been lost. Each sonata is in binary form and written in a predominantly two-part texture and mixes binary and triplet quaver movement in the RH. Tempo indications are Allegro (no.1 in G in 3/4), Andante moderato (2 in Bb in C) and allegretto (3 in A in 3/4). Notated ornaments include appoggiaturas notated as quavers but which admit various satisfactory interpretations including in many instances a Lombardic short-long, inverted mordents (or aleados as they are called by Nassarre in his Escuela Musica of 1724), and in nos. 2 and 3 upward slides. A corona is placed over a 6/4 chord in no. 2 on four occasions, suggesting a short cadenza. There are many places where additional ornamentation can be applied judiciously.

These sonatas are clearly influenced by Soler and Scarlatti and work extremely well on the harpsichord. Some passages of extended arpeggio figuration require careful practise, but on the whole they do not present any major challenges. They are neatly and accurately typeset, each sonata taking up two pages of score. No. 2 has been published previously by Kastner in Silva Iberica vol 1, and nos. 2 and 3 by Nin in 1917 with copious editorial "enrichments"; here we have all three under one cover in an urtext edition. These sonatas, whilst never attaining the level of Soler, are well worth learning; it is a pity that the other two sonatas have been lost.

Title: Sonatas para clavicórdio o clavecin by M. Espona Edited by Javier Menéndez and published by Scala Aretina Ediciones Musicales. Serie C Vol 2C

Miguel Espona (1714-79) entered the Escolanía of Montserrat in 1724, becoming monk in 1733 and spending the rest of his life there. He may well have been one of Soler's teachers. Espona's works include some sacred vocal music, some organ pieces and these sonatas; the volume contains 22, but I have identified no. 16 as actually being a version in C of Scarlatti's sonata in D Kk512. The other 21 sonatas make a most valuable addition to the repertoire from an almost unknown composer. All are in binary form, 9 of the 21 are in minor keys, 8 are in 3/8, 7 are in 3/ 4, 2 in 6/8, 3 in cut C, one in C, length ranges from 36 bars (no. 18 in D) to 128 (no 15 in c). All but nos. 6 and 22 bear tempo indications, of which 6 are Andantino, 2 are Andante, 7 are Allegro, 1 is Presto and 3 are Cantabile. It is possible that some of the individual sonatas in related keys could be played together, although this does not seem to have been indicated in the MS. A speed erring on the slower side would be preferable even in some of the allegro movements, to bring out the intricate figuration, whilst the slower movements particularly in the minor are imbued with a typical Spanish feeling of subdued melancholy. No. 4 in Bb is qualified as Allegro non Presto, its technical demands including semiquaver passages in sixths and thirds for the RH and octave quavers for the LH. The influence of Scarlatti is clear, but there are also many instances of quintessentially Iberian figures which find echoes and greater development in Soler. In particular the slower tempos seem to be more genuinely heartfelt than some of Scarlatti's.

The organ cannot be completely excluded as an option in a few cases which are mainly in two-part texture but overall stringed keyboard instruments are the most likely to do justice to these pieces. The sonatas in minor keys lend themselves in particular to the harpsichord, whether they are marked Andantino as in no. 1, or have no tempo indication, as in no. 6 in g which, with its quaver movement of all kinds, from arpeggiated figuration to conjunct scales, and sinuous winding over repeated crotchet chords, is more likely to have been conceived at a faster tempo. Hand-crossing is present in only one sonata, no.14 in a, which includes a compendium of stock figures remiscent of Scarlatti. Unusual and unexpected modulations abound, particularly in no. 10 in E and 17 in d. Semiquaver triplets appear only briefly, in the RH of sonatas 13 in G, 18 in D and 20 in G. Passages in demisemiquavers are frequent, whether as written-out ornaments as in no 1 in d, or no.3 where they appear as ornamented resolutions of a trill or as tirata, or arpeggiated figures (as in no. 18 in D), scale passages (no. 20 in C), or as in nos 12 in Eb and 19 in D as both. Passages in octaves occur in LH, mainly in quavers, sometimes conjunct as in no. 7 in c, sometimes in leaps as in nos. 13 and 21, both in G, and also in the RH as in no.3 in Bb. There are several sonatas containing single-note leaps of more than an octave. Particularly successful is sonata 3 in Bb where not only these features are present, but also passages in which RH quaver octaves preceded by a rest are played off the beat against either LH quavers or crotchet octaves. Ornaments are included in several sonatas, including aleados (inverted mordents), appoggiaturas (which sigh most effectively in no. 22) and the indication "tr"; there is plenty of scope for adding more, particularly in parallel passages and several sonatas could benefit from an appoggiatura before the final note.

Title: 3 sonatas para clavecin by J. Clausells Edited by Javier Menéndez and published by Scala Aretina Ediciones Musicales. Serie C Vol 5C 6.5 Euros.

Joseph Clausells is another nebulous figure of the Spanish Baroque of whom scarcely any biographical facts are known. He was the son of Gregorio Clausells, organist at Santa Maria del Mar in Barcelona between 1706 and 37, succeeding his father in that post. In 1796 it is known that the organist was Benito Juncá, but further research is hindered considerably by the loss of the church archives in 1936 during the Civil War. Further works by Clausells that have been conserved include 2 Tocatas and a Tiento Lleno for organ.

These three sonatas, preserved in a MS in the Biblioteca Nacional in Barcelona, reveal an awareness of the European classical style. The first, in Bb in C time, is marked Andante amoroso and is in two parts throughout, the LH containing primarily arpeggio figuration in semiquaver triplets over which a cantabile melodic line unfolds, sometimes itself in semiquaver triplets, at other times setting semiquaver and demisemiquaver figures against the LH. The ending of each section is marked by demisemiquavers arpeggios in the RH against quavers in the LH. The second sonata, also in Bb is in 3/8 and marked Allegro. In the main it is written in two-part texture with two bars in each section containing quavers in thirds in the RH, and the final quaver in the RH having the sixth (and also the third in the second part). Semiquaver triplets in arpeggio figuration against quavers predominate, with the close of each section being again like the first sonata with demisemiquaver figures against the LH. These two sonatas are relatively short, of 24 and 48 bars respectively, but with the third sonata we encounter a work of substance of 161 bars. In F and in 2/4 it lacks a tempo indication, but its predominant movement is semiquavers in the LH, either as arpeggios or as oscillating figures, with the RH containing values down to demisemiquavers. Semiquaver triplets again make an appearance in each hand. It is nearly all in two-part texture, although again there are many places where notes forming arpeggios should be held down to build up the sound- this is actually notated in the second part in some instances. Bars 65-73 contain a treble G tied through, this should surely be repeated on harpsichord. This sonata is one of the better Spanish pieces of the later 18th century and would repay careful study. The chromatic writing is more intense than in its companions, and the sudden modulations in bars 62 and 127 are particularly striking through the LH jump of almost two octaves. It is also the only sonata with notated ornaments, the crossed appoggiaturas probably interpreted as semiquavers as per 18th century practise.

These sonatas are not exceptionally difficult, although the third contains some extended arpeggios, and are well worth learning- and performing, particularly the third. Javier Menéndez deserves our thanks for rescuing these pieces and making them available in a well produced modern edition.

Title: 13 Sonatas y un Rondó para clavecin by Antóio Soler. Edited by Javier Menéndez, published by Scala Aretina Ediciones Musicales. Serie C Vol 8C 20 Euros

I am delighted to be able to review this publisher's new edition of 13 sonatas and a rondó by Soler, none of which were included in the seven volumes edited by S Rubio for UMEAll the sonatas are in binary form, in one movement; keys used are C major (4), C minor (3), G minor (2), and one piece each the following major keys Db, D, F and G, and D minor. The Rondó is in G Time signatures used include 3/8 (1,4,10,12,13), 3 /4, (2), 6/8 (5,8), 9/8 (no 3 in C) cut C (6,9,11), and C (7); the Rondó is in 2/4. Tempo indications are present only in 9 sonatas, Allegro heading nos 3, 5 and 8, Allegretto nos 9 and 11, Cantabile nos. 4 and 6, and Andante-Largo no. 10. Sonata no. 1 in C, dedicated to the Princess of Asturias, is headed "Gracioso. Allegro." The other sonatas require a relatively fast tempo. Top F is required in several sonatas, but none of them call for a G. The lowest F is required in sonata 10, and low G is required in several others.

The sonatas included here include some deeply heartfelt and lyrical moments as well as passages of sheer virtuosity. Sonata no. 5 in C minor has been published elsewhere ascribed to one Cantallos; its repeated notes in the LH, complete with grace notes in their first appearance, propel it along at a lively tempo through such distant keys as C# minor. This is the only piece in which crossed-hands are indicated. The LH note in bars 8-10 should be G, not F. LH passages in octaves and three-note figures encompassing leaps of an octave followed by up to a fifth make this a most testing piece. Wide leaps in both hands are a feature in many sonatas throughout this collection, but the standard of writing makes perseverance well worthwhile. LH passages in octaves in semiquavers appear in no. 10, and in quavers in no.2. Both of these sonatas also contain RH runs in sixths and thirds, in no. 10 the RH in bar 35 is printed one note too low throughout. This sonata also includes passages in keys remote from its tonic, F. Sonata 9 in Db contains some highly effective chromatic clashes as the RH quavers progress against repeated crotchet chords in the Left. The original text of sonata 7 being apparently somewhat garbled in the second half, the editor would probably have done better to have added a footnote to this effect- several bars need reconstructing if a more musical sense is to be achieved, which is a pity since this is one of the least difficult of the pieces included. Alberti basses make only occasional appearance, as in nos.7 and 10. Trills and appoggiaturas (mainly on short-value notes, but sometimes on values up to a semibreve) are notated in many places, but there are possibilities for further ornamentation especially at cadences.

The Rondó refrain is in ABA form, and is in 2-part writing; an Alberti bass in semiquavers in the LH giving way to crotchets and quavers at cadences. There are 2 "couplets", both in G minor. The overall writing is melodic and simple.

The editor has included source details, which show that nearly all the works are preserved in the Biblioteca de Cataluña, Barcelona. Three sonatas, nos. 8,10 and 11 are preserved only in the Biblioteca Conservatorio, Madrid, no 9 also being included in MS1964 in Barcelona. Sonata 1 is to be found only in the Biblioteca of the Duques de Villahermosa.

These pieces form a most important addition to the growing number of pieces from Spain and Portugal which deserve to be included in the repertoire of all performers. Javier Menéndez deserves our thanks for making these treasures available to us; it is to be hoped that he will continue to publish the little-known gems from 18th century Iberia as well as making available sonatas not in "complete" editions by established and better-known composers.

Scala Aretina publications can be ordered directly from the publisher via the Scala Aretina website; in England they may be obtained directly from (phone 01903 233117 eve) who will be pleased to supply copies of these and other Spanish pieces, and answer any queries about the repertoire.

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