In February 2015, I recorded an album of sonatas by Domenico Scarlatti—an experience that enriched me so profoundly that a sequel seemed inevitable, given the approximately 540 sonatas still to come. Selecting 17 works for this recording presented a challenge, but engaging with many pieces previously unknown to me brought me even more joy this time than with the debut.
Anyone who plays numerous Scarlatti sonatas, especially in concert, quickly recognizes the unique charm and brilliance of this music. The album's very first sonata, characterized by courtly allusions and a festive musical language, conveys impressions of Scarlatti's world.
Some scholars have questioned the authenticity of sonatas Kk142–147. At the same time, works like the Sonata in G major, Kk146, are considered particularly suitable for students and amateur musicians. The B minor Sonata, Kk 377, offers piano students the opportunity to practice various hand movements and develop a lively interpretation.
The grouping of the sonatas, as with the A major Sonata Kk 24, creates a cohesive listening experience. Other sonatas are arranged by key, including the expressive E major Sonata Kk 206 and the inspiring A major pieces Kk 428 and Kk 429.
The second group comprises technically less demanding sonatas such as the G major Sonata, Kk 63, and the D minor Sonata, Kk 64, thus encouraging even amateurs to play. The fourth group includes the polyphonic fugue of the C minor Sonata Kk 58, which captivates with its diversity and charm.
The C major Sonata Kk 513 is distinguished by its special atmosphere and is characterized as a 'Pastoral' piece. The F major sonata, Kk82, combines fugal elements with dance-like passages. The album concludes with the deeply moving F minor sonata, Kk481, which impressively conveys melancholy.