Category talk:Soler, Antonio

Maybe the page should be named Antonio Francisco Soler, which is his actual name. Padre means "Father". gacl 2007-04-05 11:00

Good idea. I also think, since the music of Domenico Scarlatti was a major influence to the music of Soler, that the bulk of his works are in an early Classical style. Soler lived during the Classical period, and Scarlatti wrote most of his sonatas in the early Classical style. Marcus2 20:21, 10 May 2007 (EDT)
Yes, and he clearly uses sonata form, a classical invention--Snailey 17:43, 14 July 2008 (EDT)
Not "Padre", no. That's a title. But please no more either of this full-name mania that's already a growing problem on all Wiki. He is known as Antonio Soler, basta. -Nn 18:52, 7 March 2009 (EST)


Although the owner of Chateau Gris, Ray Izumi (skeptic at centurytel dot net), has done a wonderful job re-typesetting Soler's keyboard works, there would seem to be possible copy violation issues here since his edition seems to be derived from Samuel Rubio (1912-1986) and Frederick Marvin (1923- ); most of the works had not been previously published, and Rubio's and Marvin's publications are recent enough to present problems even in terms of Urtext editions, let alone 50pma or 70pma copyrights that may pertain to editors. This requires careful investigation; I don't have time to put a post on the IMSLP forums, so I must merely record the fact here for the time being. Philip Legge @ © Φ 09:28, 30 September 2008 (EDT)

Soler First Publication

As Philip mention above, this is a possible serious issue form a copyright perspective. Until the late 1950s, few works of Soler were ever published. Under Canada's law, a work published posthumously is protected for 50 years after first publication. In the USA, it's much the same as for every other work: Works first published 1923-1977 may be protected for up to 95 years from publication. Those first published 1978-2002, even of long-dead composers, will be protected until 1/1/2049, Those published after 2002 can only be protected as editions if the composer has been dead more than 70 years. In the EU, most countries apply the Editio Princeps rule for composers dead over 70 years, which is a 25-year term from first publication.

Ray Izumi's page listing editions has at least two inaccuracies: The six Rubio volumes started appearing in the late 1950s and finished by the early 1960s. Grove gives the issue dates for the Rubio as 1957-62. Heyer lists Rubio's vol.1 as 1957, vols.2-4 as 1958, vol.5 as 1959, and vol.6 as 1962. For the Rubio edition, only volumes 1 and 6 were renewed in the USA. It also appears that Marvin's edition was issued earlier than listed by Izumi. From the renewal listed online at the US Copyright Office, it appears volume 3 was first published in 1961. Vol.3 is the only renewal found for Marvin's set. Marvin's edition was first issued by Continuo Music Press starting in 1957. Vol.1 - 1957, Vol.2 - 1958, Vol.3 - 1961, Vol.4 - 1962.

Items published before the Rubio and Marvin volumes
  • Sonatas, R. 1-27 were first published in London by Robert Birchall in the late 1700s (no earlier than 1772), as XXVII Sonatas for Clavichord by Father Antonio Soler.
  • Sonatas, R. 2, 15, 21, 24, 38, 84-90 were published in Seize Sonates Anciennes d'Auteurs Espagnols, edited by Joaquim Nin. Paris: Max Eschig, 1925.
  • Sonatas, R. 19, 118 were published in Dix-sept Sonates Anciennes d'Auteurs Espagnols, edited by Joaquim Nin. Paris: Max Eschig, 1928.