Domenico Scarlatti is primarily known today for his more than 500 compositions for keyboard instruments, distinguished by their extraordinary diversity. While his operas have largely fallen into oblivion, his Stabat Mater No. 1 is highly regarded for its dignity and artistic depth. This work, composed during Scarlatti's Roman period, impresses with its striking emotional contrasts, emphasized by the use of numerous voices. The combination of elegant melodies with complex structures and surprising harmonies is reminiscent of the interplay of light and shadow in painting. His sacred music, including the Stabat Mater, is particularly characterized by expressive counterpoint and intense emotional landscapes.
Although Scarlatti's piano sonatas are the focus of attention, some pieces are also exceptionally well-suited for the organ, a fact that is often overlooked. Works such as Kk254 4 and Kk255 6 were composed specifically for the Baroque organ and exhibit clear structures appropriate to the instrument. Certain sonatas contain musical indications that suggest the use of imitative effects. Organ works such as Kk287 5 and Kk288 2 also include detailed registration instructions, which reveal distinctive timbres and effects. In structure, these compositions resemble fantasias more than conventional two-part sonatas.
The Salve Regina in A minor, No. 7, one of Scarlatti's early works, reveals stylistic parallels to his first piano pieces. The six sections of this work are characterized by a sensitive rendering of the text, ranging from gentle passages and plaintive melodies to a tender conclusion.