Pianist Begona Uriarte plays Soler’s keyboard sonatas to the manner born. Just listen to her impetuous repeated notes in the Sonata No. 100 in D major, the crisp diction in No. 21’s tricky leaps and double notes, or the deliciously timed ornaments and mystery tinged trills in No. 24 in D minor. I’m especially fond of the dry-point precision and wit throughout her swiftly dispatched take on the celebrated Fandango. Also note how sparingly she employs the sustain pedal, just as a master lighting director would apply stage makeup to an actor. How gloriously Uriarte and Hermann Mrongrovius adjust to each other in the two piano pieces, so that the relationship between bass lines, melodies, and inner voice accompaniments appears to be the work of one player and one brain! A metallic hue permeates the otherwise attractive engineering, and there are several instances where the services of a piano tuner would have been welcome. But don’t let my sonic quibbles discourage you from checking out this inspired disc. [2/9/2005]
