DIEGO ARES_Récital P. Soler_En

DIEGO ARES_DP

Programme
 
11:00 Promenade concert – Valloire church
P. Fr. Antonio Soler (1729 – 1783)
 
SONATAS
D major (SR. 74, Andante)
G minor (JN. 11)
C minor (SR. 18, Cantabile)
G minor (SR. 81, Prestissimo)
D major (SR. 37)
B minor (SR. 10, Allegro)
 
12:00 Promenade to la Chapelle Saint Pierre
13:00 Picnic on the alp with the musicians
14:30 Libre cours lecture by Gaël de Kerret
16:00 Return to Valloire church
 
17:00 Promenade concert – Valloire church
P. Fr. Antonio Soler (1729 – 1783)
 
E flat major (SR. 96, Pastoral)
F major (SR. 89, Allegro)
C minor (SR. 100, Adagio-Largo)
D major (SR. 84, Allegro)
E flat major (SR. 105, Adagio)
 
PRELUDE & FANDANGO
 
Diego Ares, harpsichord

Padre Soler Recital
« el Diablo vestido de fraile »

 
Thursday July 27th – Musical promenades
The Devil dressed as a monk
Italian and Spanish harpsichordists of the 18th century shared a taste for paired sonatas written in the same tone. Soler, nicknamed “the Devil dressed as a monk”, due to his virtuosity, was no exception. However, very few manuscripts had survived where the virtuoso’s sonatas appeared in pairs, and there seemed to be little hope of ever completing the missing pairs. At least, until 2011, when a manuscript was discovered at the Morgan Library: the copyist had taken great care to respect the groups of two, calling the second sonata colilla. Quite a number of unknown or simply “estranged” sonatas were thus again harmoniously reunited.
Soler also explored modulation at length, explaining how to shift from one given key to any other, in the shortest of time. These exercises, which he called “preludes”, revive those evenings when, in the privacy of his cell, Friar Antonio ad-libbed on the harpsichord for a select audience.
 

Diego Ares

Born at Vigo in 1983, Diego Ares starts training as a harpsichordist at a very early age. When 18, he moves to the Netherlands to further his studies at the Hague Royal Conservatory, and in Amsterdam with Richard Egarr. Between 2004 and 2010, he studies at the Schola Cantorum Basiliensis with Jesper B. Christensen and Jörg-Andreas Bötticher. In 2004, he meets harpsichord maker Joel Katzman, then, in 2009, Hungarian pianist and educationalist, Laszlo Gyimesi, two decisive encounters in his technical and aesthetic quest.
Diego Ares performs extensively as a soloist in Spain (Granada Festival with the Granada Chamber Orchestra, Santander Festival, San Sebastian Quincena Musical, FEMAS Festival in Seville, Juan March Foundation in Madrid, Conde Duque Theatre in Madrid…), in France (Fondation Royaumont, Festival des cordes sensibles, Cycle Wanda Landowska at Saint-Leu-la-Forêt), in Switzerland (with Orchestre de Chambre de Genève at the Victoria Hall in Geneva, Sankt Gallen Festival, CIS Festival in Basel), in Germany (Berlin City Hall, Berlin Museum of Music Instruments, as an introduction to the exhibition on Wanda Landowska, also Bonn, Kassel), in the Netherlands (Utrecht Festival, a concert tour playing the Goldberg Variations), in Norway (2013 Oslo Chamber Music Festival) and in Japan (Tokyo Opera City Hall, Sumida Triphony Hall).
Diego Ares’ superior quality of interpretation in concert as well as in his recordings is met with enthusiasm by international critics. In 2006, he records P. Fr. Antonio Soler’s Fandango and two Harpsichord Concertos by J. S. Bach with the Island of Menorca Chamber Orchestra conducted by Farran James (Columna Música). In 2010 and 2012, his recordings of Domenico Scarlatti and Soler (Pan Classics) receive a Diapason d’Or award. In 2015, he releases a Harmonia Mundi recording of some thirty unknown sonatas by Soler he has rediscovered.
 
Diego Ares’s web site : www.diegoares.com
 

Libre cours lecture to Gaël de Kerret: « Why did Baroque happen? »


Gaël de Kerret is the Artistic Director of the Festival Valloire baroque

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