In his informative liner notes, Joseph Spencer provides a brief history of fortepiano construction and the significance of the Antunes instrument heard on this recording. The Antunes workshop in Lisbon was renowned and followed the model for fortepiano design set forth by the Italian Bartolomeo Cristofori.
    This program played by Edward Parmentier is a mix of the familiar and obscure. At the head of the class, and casting a giant shadow, is the justly famous Domenico Scarlatti (1685-1757). Scarlatti served at the Portuguese court as tutor to Princess Maria Barbara and, along with his father Alessandro, probably influenced Maria Barbara's predilection for the fortepiano. While there is some debate about the intended instrument for Scarlatti's sonatas, Parmentier's fluid touch and delicate shading make a strong case for the fortepiano. Antonio Soler (1729-1783) is represented by two sonatas: the contemplative A major [actually G major, no. 116]  and the exuberant F-sharp minor [no.77].  While we frequently associate Soler with the harpsichord, many of his keyboard works were actually written for fortepiano or organ. The lesser-known composers represented are Lodovico Giustini (1685-1743), Sebastian Álbero (18th century), Carlos de Seixas (1704-1742), and João de Sousa Carvalho (1745-1798).
    I like Parmentier's muscular agility and was totally seduced by the sound of this wonderful instrument. The Antunes fortepiano has a warm glow that is quite appealing, a refreshing change from some of the tinny-sounding fortepianos of the period. The usual transparent Wildboar sound makes this a real treasure.