Pieter-Jan Belder - Three Keyboard Concertos - COMPACT DISCS [CD]

This recording dedicated to Mirentxu by Jesus Guridi is a continuation of the project to publish the dramatic works promoted by the Bilbao Choral Society and initiated with the recordings of Maitena by Charles Colin (2021) and Lide ta Ixidor by Santos Inchausti (2022). The work, whose success and repercussion was outstanding at the time, and after a good number of premieres and performances, lacked a complete recording, which is why the present recording represents a challenge both at the production and artistic level that we should celebrate.The Sociedad Coral de Bilbao together with the BOS - Bilbao Orkestra Sinfonikoa and a carefully selected cast of soloists have been entrusted with this task, recalling the Society's active role in the premiere of the work held at the Teatro Campos Eliseos on 31 May 1910.

Jean-François Dandrieu was born in August or September 1682 on rue Saint-Louis, Île de la Cité, Paris. He was the eldest of at least four children and showed such musical precocity that it is reported he played the harpsichord for Louis XIV and his court at the age of five. It can be assumed that his reputation led to great demand for his services as a performer, since he travelled outside Paris as a musician on several occasions. He was not the first musical Dandrieu his uncle, Pierre, trained as a priest and organist in Angers. It is possible that it was he who organised Jean-François's studies with the harpsichordist and composer Jean-Baptiste Moreau, a fellow Angevin and near contemporary. The musical environment in which Dandrieu was raised was a period of considerable change. Paris saw the rise of a modish cultural élite with an increasing desire for new music, whether instrumental or vocal, and this was fed by several publications such as Mercure Galant (1678-1714), which reported not only on concerts and new music but also provided a modicum of artistic gossip to inform it's readers which artists were currently in vogue. It has been mentioned that Dandrieu was renowned from an early age as a prodigy. While we know little else about his activities as a performer, the decision to publish his early compositions must have been based on the level of notoriety he had achieved. According to the catalogue of the Bibliothèque nationale de France, the first book of harpsichord pieces was published in 1705, but there are no records of his legally required lettres de privilège being submitted to the Paris Guild of Booksellers for that year. Indeed, though records for November 1700-January 1704 are now lost, it is assumed the books were issued at some point between these dates, which would make him the youngest-known composer to have released a book of music. While Dandri

Pieter-Jan Belder's zeal for the rediscovery of 17th-century keyboard music continues apace with this, the third volume in the first-ever projected complete set of the harpsichord sonatas by Padre Antonio Soler, contemporary and rival of Domenico Scarlatti. Like Scarlatti's examples, these sonatas are intensely colorful, alternately exuberant and poetic, and always distinctive. Soler (1729-83) was born in Olot, Catalunia, and became a monk at Escurial where he was organist and composer. A keyboard soloist of prodigious skills, he composed many sonatas for harpsichord (although not one has survived in his hand), organ works a Requiem, piano quintets and concertos for 2 keyboards, and incidental music to plays by Calderon and other 17th century Spanish playwrights. Much research has been carried out to establish accurate performing editions of Soler's music. The editions used in these recordings are by Professor Frederick Marvin who researched the extensive library and archives of Montserrat Monastery, El Escorial and Bibloteca de Catalunia in Barcelona in the 1940s through to the 1960s, and the edition by Padre Samuel Rubio.