Padre Antonio Soler - Dixit Dominus, a 4 y Ripieno (1761) (Recasens 2017) скачать в хорошем качестве

Padre Antonio Soler - Dixit Dominus, a 4 y Ripieno (1761) (Recasens 2017)

Padre Antonio Soler - Dixit Dominus, a 4 y Ripieno (1761). Performed by La Grande Chapelle, conducted by Albert Recasens. Recorded October 2017 at Capilla del Espíritu Santo de la Catedral de Cuenca, Spain. Record label: Lauda. This video of classical music is solely for personal educational purposes. No copyright infringement intended. Videos are always incidental extracts from published works. If you like the music, please consider supporting the artist and the label by buying the music. Discover more lesser known classical gems at ‪‪‪@gorgeousclassicalunknown‬ . From Wikipedia: 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 Catalan 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. 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. 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 and Catholic liturgical music, including Masses. He died in the monastery of San Lorenzo del Escorial. 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 authored by Soler, and probably more often performed than any other work of his, is claimed by some to be of doubtful authorship.