Recorded March 1968 at the Angelicum Studio in Milan, Italy.
Instrument not mentioned in the documentation but it is a Neupert (source Robert Tifft).
Released 1969 by Vox/Turnabout TV-S 34366
Recorded by Thomas Gallia.

Thanks to Robert Tifft, webmaster of for providing the handwritten sonata in a minor used for this recording.
Robert Tifft 2 May 2017:
For the Soler, I have some of the handwritten scores he used for the recording. Publications of the sonatas were difficult to find at the time, so Thomas Gallia’s assistant, Paul Dery, copied by hand what he could find in libraries (this was in the days before photocopiers!). Attached is the score of the A minor sonata with editing marks and fingerings.

Thanks to Taka todo1 for the identification of the pieces, which was not indicated in the documentation of this pioneer recording.

Side 1-22’30 Min.
00:00 1. in F Major (3’25) R.418 (No. 89)
03:29 2. in C Minor (4’26) R.354 (No. 19) (Henle No.13)
07:59 3. in F-sharp Minor (4’16) R.414 (No. 85)
12:22 4. in C-sharp Minor (6’21) R.356 (No. 21) (Henle No.3)
18:43 5. in D Major (3’38) R.413 (No. 84)

Side II – 27’15 Min.
22:25 1. in G Minor(4’15) R.416 (No. 87)
26:46 2. in A Minor (4’39) R.440 (No. 118)
31:25 3. in D.Major (2’30) R.415 (No. 86) (Henle No.7)
34:01 4. Sonata two times two: in E Minor, in G Major (8’48) R.387 (No. 52) – R.438 (No. 116)
42:50 5. Sonata two times two: in B-flat Major, in B-flat Major (6’37) R.454 (No. 132) (M.25) – R.441 (No. 119) (M.26)

Through Spain’s famous painters Ribera, Zurbaran, or
Goya, and indeed, because of the country’s·very landscape,
we think of Spain as a country drenched in sunlight but
full of dark shadows in which mysterious, half-seen figures
are ceaselessly occupied with we know not what, only to
appear suddenly in the glaring light to amaze us with the
result of their activity in the deep shadows.
Only a very few years ago, the name of Antonio Soler
was completely unknown ‘not only to music lovers, but to
music historians as well – except to a handful of person’s
familiar with the archives of the Escorial, or with the
private library of Lord Fitzwilliam in Cambridge. But
once Soler’s unknown manuscripts were pulled out of the
deep shadows of those archives by relentless musicologists,
he stood there in the glaring light of the Spanish sun,
revealed asan outstanding master.
Antonio Soler was born in the Catalonian village of
Olot de Porrera’, in 1729, the year in which Domenico
Scarlatti was hired by the King of Spain to serveartFie
Spanish court as music master to his daughters. Soler
studied at the Escalonia of Montserrat. The Bishop of
Urgel asked him one day whether he knew of a young
organist for the monastery of the Escotia1. Soler suggested
himself and got the job. He continued his studies, now with
Scarlatti, who came to the Escorial every autumn with
the royal family until his death in 1757.Soler took Holy
Orders in 1752, a year after his arrival, and never left
the Escorial. He died in 1783. During all those years in
the deep shadows of that huge and austere block of buildings,
he kept on composing. One would imagine that, as
an organist and choirmaster at a monastery church in very
-Catholic Spain, he composed sacred music in an unending
stream. Nothing is farther from the truth. When his music,
buried in the shadowy archives for two centuries, came
into the glaring light, it was revealed as in the main gay,
even frivolous music.

#Neupert #JánosSebestyén