Released 1981 by Elektra Asylum Nonesuch Records, D-79010
Harpsichord: Rutkowski & Robinette, New York, 1970.
Recorded August 21-22, 1980 at Columbia 30th St. Studios, New York
Producer: Eric Salzman
Engineer: Bud Graham
Edited at Sound Ideas Recording Studios, New York
Mastered by Bobby Hata at Warner Bros.
Recording Studios, North Hollywood
Production Supervisor: Keith Holzman
Art Direction: Ron Coro, Design: Denise Minobe

Side One
00:00 1. FANDANGO (Marvin 1A; Rubio 1A) (11’03)
11:07 2a. SONATA IN D MAJOR (M.9; R.74) (5’12)
16:21 2b. SONATA IN D MAJOR (R.84) (3’07)
19:32 2c. SONATA IN D MAJOR (M.34; R.92/4) (4’53)
24:31 3. SONATA IN B MINOR (M.16; R.10) (4’26)

Side Two
29:07 1. SONATA IN E MINOR (M.6; R.27) (4’58)
34:10 2a. SONATA IN A MINOR (M.31; R.71) (3’24)
37:38 2b. SONATA IN A MINOR (R.118) (4’07)
41:51 3a. SONATA IN C MINOR (M.4; R.18) (4’30)
46:21 3b. SONATA IN C MINOR (M.1 ; R.48) (3’28)
49:54 4. SONATA IN C MAJOR (M.5; R.66/ 2) (6’58)

Harpsichord disposition: lower manual: 16′ quill
lower case, 8′ leather, 8′ quill, 4′ quill, harp stop;
upper manual: 8′ quill ; manual coupler.
The tuning used is well temperament as
opposed to equal temperament, which came into
use only in the 19th century. In equal
temperament, all the keys have the same neutral quality.
In well temperament, all the keys are
usable, but each key has its own characteristic
color, ranging from smooth in the primary
keys to very brilliant in the remote keys.
The 16′ instrument is independent of the
basic harpsichord both mechanically and acoustically
and can be disconnected when not in use.

There is little in the events of the life of Antonio Francisco Xavier Joseph Soler y Ramos to distinguish him from his many contemporaries who also followed the monastic vocation during the 18th century. Padre Antonio Soler was born in a small town in Catalonia in northern Spain, Olot de Porera, and was baptized there on Dec. 3, 1729. His father was a musician in the band of the Numancia Regiment. As a child, Antonio must have shown great aptitude for music, since he was sent at the age of six to live at the Benedictine monastery of Montserrat in the mou(ltains above Barcelona, to sing in the monastery choir, and to study at the Escolonia, one of the oldest music schools in Europe. Here Soler was schooled in the traditions of the great Spanish organists and composers by Jose Elias, a pupil of Joan Cabanilles of Valencia. At fifteen, Soler received his first appointment as organist and music director at the Lerida Cathedral, a post he held for eight years. During this time, he also studied for the priesthood and was ordained subdeacon in 1752. Upon the recommendation of the Bishop of Urgel, he entered the novitiate at the Monastery of San Lorenzo at EI Escorial near Madrid and shortly thereafter became the monastery organist. Several years later, he was also appointed director of music there.
The Escorial is rightly regarded as one of the most morbid and
gloomy complex of buildings in Europe. It was built as a royal residence in the 16th century by Philip II, who, in order to ensure the forgiveness of his sins, included a church, seminary, and monastery for perpetual intercessions. The Escorial was also to be the mausoleum for Spain’s dead monarchs. It was here that Soler chose to live until his death in 1783 and where he composed some of the most witty and exuberant music ever written in Spain.

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