Contents Sommaire

The Times obituary of Scott Ross 1

Vivi felice 1

Introduction to the sonatas 3

Notes on the sonatas 4

Glossary 20

Essential reading 24Credits and acknowledgements 24

Hommage Scott Ross 25

Vivi felice 25

Introduction aux sonates 26

Notes sur les sonates 27

Repres 44

Bibliographie de base 47Gnrique 47

Scott Ross died on 13 June 1989, less than two years after these recordingswere first issued. The following obituary appeared in The Times on 17June 1989.

Scott Ross: Master interpreter of theharpsichord repertoire

Scott Ross, the American-born harpsichordist and, more rarely,organist and pianist, died on 13 June of an Aids-related condition athis home in Assas, Montpellier, France. He was thirty-eight.

Born in Pittsburgh, he came to live in France at the age of fourteen,studied at the Conservatoires of Nice and Paris, and first rose toprominence when he won the coveted Bruges InternationalCompetition in 1971, setting such a standard in the opinion of thejudges that it was deemed impossible to make an equivalent award until 1986. This success, coupled with the rising tide ofenthusiasm for Baroque music generally in the seventies, enabledRoss to create for himself a career commensurate with hisconsiderable interpretative and technical gifts, though it was mainlyconfined to France.

His image at that time, with his long unkempt mop of hair, his hippyclothing and his small round spectacles, was more akin to that ofJohn Lennon than that of sober-suited harpsichordists of the GustavLeonhardt variety.

Many might have suspected Rosss integrity on seeing him thusattired, but in fact his playing was always marked by scholarship(evinced also in the editions he made with Kenneth Gilbert ofScarlatti and DAnglebert), fastidiousness, elegance and, vitally for aninstrument still widely derided, an impression of rich sonorities.

Rosss repertoire was vast and fortunately he has left us a significantlegacy on record. His recordings of the harpsichord music ofRameau and Franois Couperin won a Grand Prix du Disque, andin 1985, already aware of his medical condition, he embarked uponwhat will surely forever stand as a landmark in the history ofrecorded music, an account for the Erato label, in co-operation withRadio France, of all 555 of Domenico Scarlattis sonatas.

The desire to see the project through obviously had a beneficialeffect on his health, and he was extremely happy with the success itachieved. Largely on account of that success, in 1988 he was namedMusical Personality of the Year by the Syndicat des CritiquesFranais, but even then he refused to rest on his laurels.

Outside the realm of performance, Ross enjoyed teaching, which hedid both at Quebec University (from 1973 until 1985) and at hisregular summer academies in Venice. He also cultivated aknowledge of instrument making techniques that extended farbeyond those applicable to the keyboard family. He had an outgoingbut unaffected personality and many, many devoted friends. Heloved especially his collection of orchids at his retreat in Assas. It wasonly natural that he should have wanted to die among them.

Vivi felice

Vivi felice. Live happily. These are the final words of the prefaceto the only collection of Scarlattis pieces for keyboard instrumentpublished during his lifetime.

The words express a warm and generous wish. They are more thanthe mere encouragement of a master to a pupil; they are those of afriend. The dedication comes as a surprise compared with others ofthe epoch when the high and mighty were addressed by theirhumble and obedient servants or when Johann Sebastian Bachquite deliberately dedicated his work to the glory of God by meansof the three letters S.D.G. alongside his signature. Scarlattis

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0825646299454 Scarlatti: Complete Keyboard Sonatas

injunction has a ring to it which is as modern as the music to whichit serves as preface: simplicity and straightforwardness are the veryessence of his personality.

Scarlattis music is something of a tonic. It is free from complicatedovertones and theoretical dogma. It is designed to be played forpleasure. Although it calls for a sound technique, it is always limpid.Both the construction and the writing are bright and clear and thereis an abundance of rhythmic and thematic ideas. Above all, there ischarm and mastery displayed in the way the harmonies are developed.

Scarlattis corpus of keyboard works is also one of the mostvoluminous and impressive in the history of music. To perform it intoto takes no less than thirty-four hours. This is three times as longas it would take to perform Couperins or Schumanns music forkeyboard and twice as long as one would need for Beethoven. OnlyBach can equal it in scale and even then it is necessary to includewhat he wrote for organ as well as for other keyboard instruments.The enormous edifice of Scarlattis keyboard music is made upentirely of short pieces of only a few minutes length (the longestlasts for only seven minutes and the shortest for two). There isrelatively little development of themes in Scarlattis writing, whichis made up essentially of the juxtaposition of swarms of melodic andrhythmic ideas.

There is another curious feature to his work: virtually all the piecesare written in the simplest of all possible forms, binary form. Thesonatas are made up of two roughly equal parts, each one intendedto be repeated. The first part ends in the dominant in most cases, thesecond invariably ends in the tonic and the sequences leading to theendings are comparable. Exceptions to this framework are rare.Scarlatti, who poured out musical ideas in abundance, appears tohave had little interest in bringing new developments into themusical forms of his time.

On the other hand, when it comes to rhythms and modulations, hisimagination is extraordinary. Not only did he adopt with excellenteffect features which were already in common use, but he broughta breath of fresh air into contemporary musical practice by usingpopular rhythms, remote keys and contrasts of tone colour and bytransforming the harpsichord into a sort of orchestra in itself. Almostas though he was simply playing around and enjoying himself,Scarlatti discovered modulations which were to be re-adopted onlymuch later. By means of acciaccaturas, he introduced notes whichwere foreign to traditional harmony, creating some extraordinaryeffects in the process. Finally, he was a master at surprising thelistener by totally unprepared modulations.

It is difficult to understand why the public should have had to waitmore than two hundred years to hear in its entirety this toweringachievement in the history of keyboard music. This is unfortunatelythe fate shared by the bulk of the Baroque repertoire, which wasill-served in the nineteenth century and more often than not is littleappreciated even today.

Thirty of Scarlattis sonatas were published in London during thecomposers lifetime, but there was virtually no othereighteenth-century edition of his music by French, English or Italianpublishers. There were a few anthologies and, here and there, sometranscriptions, but composers such as Thomas Roseingrave andCharles Avison, although with the best intentions, saw fit tocomplement the few sonatas with their own works, which didnothing to further the cause of Scarlattis masterpieces.

There was to be little change in the nineteenth century. True, alarger number of sonatas did get published, but the pianists who, oneway or another, were responsible for these editions Czerny in1839 or, later, Hans von Blow, Busoni and Tausig had noscruples about bringing them up-to-date, adding expression marksand even notes which in most cases changed the entire character ofthe works they had set out to make known.

The first complete or very nearly complete edition dates from1906. It was published by Ricordi in an edition prepared by the

Italian composer Alessandro Longo. This was the first time thatScarlattis output could be seen in its true perspective and the editionbecame the standard work of reference for fifty years. But even thisedition was not free from traces of somewhat off-hand treatment.Longo, for instance, completely upset the order of the sonatas to befound in the manuscripts by grouping them into suites, therebyobliterating not only the feeling engendered by the different stagesof composition but also the pairing of the sonatas, an essentialelement whose existence was to be brought to light once again byRalph Kirkpatricks research fifty years later. Longo, moreover,following in the faulty footsteps of his forerunners, overloaded hisedition with arbitrary phrase marks and dynamics and the changes hemade, particularly in the harmonies, did little, in most cases, saveimpoverish what Scarlatti had composed.

As might be expected, performances of the sonatas were on a parwith Longos edition. For years, with the notable exception of a fewbrilliant interpretations headed by the recordings made by WandaLandowska and Vladimir Horowitz, Scarlattis sonatas were given apoor airing. More often than not they served as appetisers at concertsenabling late-comers to find their seats and allowing the performerto warm up and to test audience reaction. The sonatas were also useas studies. Marcel Proust mentions them in the following terms inThe Cities of the Plain: those confounded pieces which have sooften kept you awake when they have been played over and overagain by a merciless student on an adjacent floor.

Scarlattis work, then, appeared in poor editions and it was generallygiven poor performances. There are, however, other aspects of hislife and work which even today raise problems. For example, thereis not a single manuscript sonata extant in the composers own hand.There are plenty of manuscript versions, of course, but these areinvariably the work of copyists. There are several roughlycomparable manuscripts, each bound in volumes bearing the arms ofthe Spanish royal household. They are now in libraries in Veniceand Parma. But the autograph texts have yet to be discovered if,indeed, they ever existed. The authenticity, but above all, thechronology of the sonatas must still remain open to argument.

There is another mystery, and it is to do with the circumstances inwhich the sonatas were composed. It is generally thought that mostof them were written in Portugal and in Spain. Scarlatti was musicmaster to Princess Maria Barbara of Braganza, daughter of the Kingof Portugal and later to become the Queen of Spain. But Scarlatticould just as well have brought with him compositions writtenduring his brilliant career in Italy before he became an expatriate.And then, what lay behind this apparently self-imposed exile? Whatwas the force which drove Scarlatti to leave his native country forgood at the age of fifty? For it meant abandoning his relations,abandoning Italy, which was bursting with new musical ideas, andabandoning a brilliant career as a composer of operas and as aninterpreter. We really do not know enough about him to be able toanswer these questions, but it would seem that the reasons for hisdeparture were psychological rather than financial. It seems certainthat his masterpieces, the sonatas, began to appear after his departurefrom Italy. There is every reason to suppose that his exile wasenjoyable. His relationship with Maria Barbara was a model ofsteadfastness and fidelity and he enjoyed the esteem of those aroundhim. He was given a knighthood and he raised a family. In spite ofall this, his life is almost completely undocumented. One of hisfriends, the Italian singer Farinelli, was just about the only person toprovide contemporary evidence about him, and it was in any casethanks to Farinelli that the bound copies of the sonatas finally foundtheir way to Italy after the queens death.

In the face of such enigmas there is one solution to which I amattracted. Farinelli hinted that Scarlatti was an inveterate gambler.Gambling means gambling debts. It is not too far-fetched to supposethat the queen should demand that some of the superbimprovisations with which the composer delighted the court shouldbe set down in black and white in return for her paying off the debtshe had incurred in gambling. It was true, he was a genius. But thatdid not prevent him from being idle and he might well have agreedto such a deal only on condition that he should be allowed to dictate

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his improvisations to the skilful copyists of the royal library. One cango even further and see in this an explanation for the brevity of hiscompositions: he was out to keep things as short as possible. Such anexplanation is no better or worse than any other, but it really doesseem, particularly in the case of the later sonatas, that they came inbursts and that they were quite simply written down underdictation. All this can only increase the admiration one feels forScarlatti, whose brilliance as a performer was matched by hisconsummate skill as an improviser. It should not be forgotten thatwhile he was still in Italy, he had come out on top in a friendlyimprovisation contest with Handel.

Introduction to the sonatas

This recording keeps to the precise order in the catalogue drawn upby Ralph Kirkpatrick at the beginning of the 1950s. The editionused for the recording was the eleven-volume collection of the 555sonatas published between 1971 and 1984 in the series Le Pupitre byHeugel under the editorship of Kenneth Gilbert.

CDs 1 to 33 contain the sonatas from Kk 1 to Kk 555. The threeorgan sonatas (Kk 287, Kk 288 and Kk 328) and the five suites withfigured basses (Kk 81, Kk 88, Kk 89, Kk 90 and Kk 91) appear onCD 34.

PairingThe idea that many of the sonatas had originally been arrangedpairwise was put forward by Gerstenberg in 1935. Ralph Kirkpatrickrevived the idea in the course of his own research.

The arbitrary layout of early editions of the sonatas ignored the factthat in the Venice and Parma manuscripts about two-thirds of thesonatas appear to form pairs or even, in some cases, sets of three.

Scarlatti himself did not state specifically that the sonatas wereintended to be paired, even though the practice was frequentamongst contemporary Spanish composers. Some of the pairingsmight well appear open to doubt. In other cases, however, there isirrefutable proof that pairing was intended. For example, thecopyists of the Venice and Parma manuscripts wrote that thereshould be a swift follow-on between what are now known inKirkpatricks catalogue as Kk 347 and Kk 348. They also wrote thatthe sonatas Kk 516 and Kk 517 had been copied in the oppositeorder to that intended by the composer.

There are other more refined proofs on the pairwise arrangement.Take, for example, the change of key signature in Kk 527. Thecopyists wrote out a key signature with three naturals. There can beonly one explanation for such a key signature, which would bepointless unless it served to draw the attention of the player to achange of tonality. In this pair of sonatas, the first is in C minor (threeflats) and the second is in C major. The placing of naturals on thestave of the second sonata was quite deliberate. (On the other hand,what is the explanation in the case of Kk 230 and Kk 231? Thepairing is of a similar type but the alteration of the key signature isnot brought to the performers attention.)

The pairing of the sonatas is primarily a question of tonality, as inthe relationship between the various movements of suitesthroughout musical literature. Those of Scarlattis sonatas which,from the manuscript sources, appear to have been designed pairwise(examples occur from Kk 150 onwards, right up to the final ones)are in the same key. There are about a hundred pairs; only some tenof them are in different modes (major/minor or vice versa). In allother cases, a contrast is achieved by means of differing tempi ordiffering time-signatures. On the other hand, where sonatas arepaired, there is scarcely ever any similarity of thematic material.

FormThe architecture of Scarlattis sonatas is simple. Such, at least, is theimpression one gets from looking at them or listening to them. This,too, is the reputation which they share with mosteighteenth-century harpsichord compositions.

Closer examination reveals that things are rather more complicatedthan the authors of modem treatises on musical composition wouldhave us believe. Most of these writers are inclined to find only whatthey are looking for: proofs that the sonatas were more or less clumsyforerunners of the Classical sonata, and opportunities to underline thesuperiority of the great form which was to leave its mark onnineteenth-century music. In reality, the two forms the Scarlattisonata and the so-called Classical sonata are quite distinct in thesame way as the opera seria is distinct from a Verdi opera and a motet from a cantata. There is no reason to say that one is better thanthe other.

A piece of music can be said to be in Classical sonata form when itsmain theme is repeated in the same key in the restatement. This wasthe structure adopted by C.P.E. Bach and his followers. It led on tothe form which is now so familiar to us.

Scarlattis concept of the sonata is something entirely different, andany misunderstanding springs from the use of the word itself. Oneshould bear in mind, however, that Scarlatti and his contemporariesadopted it long before Beethoven did. The main difference lies inthe general framework. Scarlattis sonatas are in binary form, thepieces being divided into two distinct halves. The two halves arecomparable and complementary, but they are sufficiently contrastedfor the differences between them to allow more detailed analysis.

Scarlattis sonatas abound in all the traditional devices of musicalexpression. They are also full of vitality and, inevitably, thesimplification inherent in any analysis is inclined to obscure thewealth of the musical content.

Musical languageThe style, writing and individual language of Scarlattis sonatascombine to form a captivating world. The rhythmic and melodicinvention, the almost diabolical skill displayed in the use of theinstrument and the mastery of keyboard technique keep the listenerconstantly enthralled. Comment, while not entirely superfluous, isfraught with difficulty.

RhythmScarlattis sonatas, particularly in the interpretation by Scott Ross,appear to be driven along by an inner pulse. Occasionally, this isreinforced by rhythmic ostinato passages identical with those to beheard even today in Spanish songs and in flamenco. It could well be,moreover, that these popular rhythms made a strong impression onScarlatti when he arrived in Andalusia (saetas, seguidillas, buleras,rhythmic roulades).

AccentsScarlatti was a complete master of the art of providing accents for hismusic. By introducing a note which was foreign to the general lineof a theme, or by inserting an unusual note into a chord, hereinforced his melodies or their accompaniment. The suddenexplosion of a chord, a fast scale or a tight cluster of notes act asinterjections which highlight the text.

Instrumental stylesScarlatti was a successful composer of operatic and orchestral music.In spite of this, he devoted the last thirty years of his life entirely tothe harpsichord. We do not really know why this should have beenso, and the absence of letters or contemporary accounts of themusicians life is particularly frustrating here. More than any othercomposer of his day, however, Scarlatti resorted to orchestral devicesin his sonatas and to references to other instruments. We can oftenhear the guitar in his music, the mandolin with its repeated notes,percussion instruments or fanfares of trumpets.

ModulationsOne of the most remarkable sides to Scarlattis genius was his abilityto go through the keys in a variety of modulations, either gradually,the accidentals being introduced one by one, or suddenly by anabrupt shift to an unrelated key a whole tone or even a third away.

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VirtuosityScarlattis limpid musical writing can at first glance lead one to theconclusion that his works are easy to perform. Nothing could befurther from the truth. Clarity of writing has nothing to do with easeof execution. Scarlatti, who was the most accomplished virtuosoamongst contemporary harpsichord players, did not have to worryabout finding somebody to perform his music. In any case, his pupil,Queen Maria Barbara of Braganza, for whom these pieces werewritten, must herself have been a very skilled performer. Some ofthe sonatas demand a high level of technique in the playing of scalesand arpeggios and passages in thirds and sixths and octaves.

Archaic stylesA few sonatas contain several distinct musical lines from beginningto end as though they were designed for performance by aninstrumental trio or quartet. Others incorporate a number of typicalpolyphonic features. Finally, there are a few sonatas which contain asingle upper voice and an accompanying bass line (figured orunfigured) somewhat reminiscent of accompanied songs.

Notes on the sonatas

CDs 1 and 2 Kk 1Kk 30 These sonatas, known under the title Essercizi pergravicembalo, were the only pieces whose publication was supervisedby Scarlatti himself. The composer made his intentions clear in apreface which includes a dedication to his future masters in Spain.

Was it he who chose the engraver? Did he himself correct theproofs? It must be said that the engravers fame was greater than thecare he took over his work: the frontispiece shows a harpsichord thewrong way round! And there is doubt as to how far the proofs ofthe first edition conform with the original manuscripts. We have nomeans of checking. Nevertheless, it was Scarlatti who chose thepieces and no doubt he reworked them before sending them to hisEnglish publisher.

These thirty sonatas should not, however, be considered as thecomposers first works. True, Kirkpatrick put them at the beginningof his catalogue, which was based on the chronological sequence ofthe sources, and Fortiers edition was the first tangible evidence ofScarlattis compositions for the keyboard. Nevertheless, there can belittle doubt that Scarlatti made a selection of the thirty piecesamongst many other compositions whose existence was to berevealed only at a later date amongst various manuscript copies.

These thirty sonatas are one of the jewels of Scarlattis uvre. For along time they were the most easily accessible; they appeared inmany editions and they were certainly the most played. Even todaythey are the ones which have been most recorded. They are, in fact,an anthology of Scarlattis compositions, bearing the stamp of thecomposer in full possession of his art. Most of the characteristicfeatures of his writing throughout the 555 sonatas catalogued byKirkpatrick appear in these pieces. Scarlatti goes through the wholegamut of keyboard technique and exploits to the full startling effectssuch as handcrossing, jumps of two octaves or more, repeated notesand virtuosic scale and arpeggio passages.

From many points of view, these sonatas mark a transition inScarlattis life. From now on, Spain was to be the home of thisItalian composer. Operas were to be abandoned in favour of worksfor the keyboard. There is a successful blend of classical tradition andSpanish folk song and dance in the collection. Alongside toccatas(Kk 1, 4 and 12) and concertante or polyphonic pieces, there areothers, such as Kk 2, 5, 17 and 24, which contain undeniable tracesof the influence of Spanish songs and dances.

All thirty pieces go along at a brisk pace, and this no doubt accountsfor Scarlattis reputed lack of interest in slow tempi. Fifteen aremarked Presto and fourteen Allegro. Only the very last piece,nicknamed at a much later date the Cats Fugue (cf. GlossaryGatto), is marked Moderato. It is only later that Scarlattis lyrical sidebecomes evident, when strongly contrasted Allegro and Andante

sonatas are paired together.

The later sonatas are more varied in form but the first traces of whatlends them such opulence are to be found here. There is, forexample, the free form which first appears in Kk 19, and theprinciple of the development of the second half of the sonata is tobe seen in Kk 9, albeit to a limited degree.

Four-fifths of the sonatas are closed but Scarlatti enriched theform by various devices such as permutations of the sequences of thetwo halves of the sonata to make it asymmetrical (right from Kk 1 as against Kk 2, but also in Kk 4, 12, 21 and 24) and thedropping of the traditional practice of landing up in the dominant atthe double bar separating the two halves of the sonata: half of thesonatas in a minor tonality reach this point in the relative major (Kk3, 5, 7, 9, 10, 15, 19 and 27). Similar examples are to be found inthe works of contemporary composers, but to a lesser degree. Lateron, Scarlatti exploited the surprise effect created by a suddenmodulation in the opening bars of the second half of a sonata.

In these sonatas, there are few modulations, apart from shifts frommajor to minor (or the opposite). The majority of the Essercizi arein the minor, only thirteen out of the thirty being in the major.There is a preference for the use of flats only eleven sonatas havea key signature in sharps. The key signatures in this first edition arewritten in the old shortened form: G minor has a single flat, C minor has only two, etc. The same applies to the major keys: Amajor is written with two sharps, E major with three. There arenever more than three accidentals in the key signature. It was onlylater that Scarlatti exploited the possibilities provided by theintroduction of equal temperament.

As the Essercizi are by way of being an anthology, there can be noquestion of seeking any special relationship between the differentpieces such as J.S. Bach intended in the thirty Inventions and, witheven greater reason, in the thirty Goldberg Variations (it might bementioned in passing that the latter, published for the first time in1742, are virtually contemporaneous with the Essercizi). Scarlatti wasafter something entirely different and he made his intentions clear inhis preface:

Reader,

Whether you be Dilettante or Professor, in these Compositionsdo not expect any profound Learning, but rather an ingeniousjesting with Art, to accommodate you to the Mastery of theHarpsichord. Neither Considerations of Interest, nor Visions ofAmbition, but only Obedience moved me to publish them.Perhaps they will be agreeable to you; then all the more gladlywill I obey other Commands to please you in an easier and morevaried Style. Show yourself then more human than critical, andthereby increase your own Delight. To designate to you thePosition of the Hands, be advised that by D is indicated theRight, and by M the Left. Live happily.

It was William Smith who discovered the first (?) sales advertisementfor the Essercizi. It is dated February 1739. According to Kirkpatrick,it was in April 1738 that Scarlatti was awarded the Portuguese titleof Knight of the Order of Santiago, which is the title which featureson the first page of the edition. There is, therefore, every reason tosuppose that the first edition of the Essercizi dates from the end of1738 or early in 1739.

CD 3 Kk 31Kk 42 These twelve sonatas were first published in Englandin a sort of pirate edition put together by Thomas Roseingrave (cf.Glossary) shortly after the first publication of the Essercizi.Roseingrave included the first thirty sonatas, but changed the title ofthe collection. He also changed the order and introduced pieces thathe had no doubt brought back from Italy twenty years earlier. Heopened the collection with one of his own compositions publishing morals were rather different then from what theyare now!

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The edition was never revised by Scarlatti. Evidence for this isprovided by Kk 33, which acquired its final form only three yearslater by the addition of a majestic opening passage seventeen bars long.

The Scarlatti pieces added by Roseingrave to the Essercizi are quiteplainly early works, as are many of those in the hundred numberswhich follow in Kirkpatricks catalogue. There is often the imprintof the Italian school. Kk 35, for example, is a toccata, and Kk 41 isa four-part fugue. Both these pieces could quite well have beenwritten by Handel. There are traces of concertante style: Kk 37 andKk 40, for example, bring Vivaldi to mind. There are also dancemovements typical of those to be found in keyboard suites at thatepoch (cf. Kk 40 and Kk 42).

Some of the tempo markings in these pieces are not to be foundelsewhere: Kk 32 is marked Aria and Kk 34 Larghetto. Two-thirdsof these sonatas are in the minor.

Kk 40 and Kk 42 are delightful minuets in pure Classical style (byhis use of notes ingales, Scott Ross takes us into the world ofVivaldis Four Seasons). There is nothing Spanish about these pieces.On the other hand, they bear features which were to persistthroughout Scarlattis keyboard compositions: a liking for handcrossings (Kk 36 and Kk 44) and for swift movements right up anddown the whole width of the keyboard (Kk 31, 33 and 38), andeverywhere a complete disregard for technical difficulties.

Kk 41 is a fugue; it is the first of the eleven pieces in Kirkpatrickscatalogue not to appear in Alessandro Longos (cf. Glossary) edition.

Kk 43 to Kk 48 are taken from the Venice manuscript dated 1742.They belong to the early manner, but display the flamboyantcharacter which Kirkpatrick associates with many of the first twohundred sonatas. The style is livelier and the themes are more clearlycontrasted than in the previous pieces. Moreover, the rhythmsbreathe an entirely different world, almost certainly the one thatSpain revealed to Scarlatti (cf. Kk 45).

The fullness of the sound is striking. Some of the melodic patternsand the accompanying figures are doubled in octaves (the cadencesin both halves of Kk 44, the stressed weak beats in Kk 45 and thebass in Kk 46), scales fizz like rockets (Kk 43 and Kk 47) and in Kk48, Scarlatti resorts to a rapidly executed Alberti bass. These sonatasalso reveal Scarlattis mastery of the art of writing for theharpsichord. Kk 44 and Kk 46 in particular show how skilfully hemanages to amplify and diminish the sound of an instrumentgenerally reckoned to be somewhat lacking in dynamic range.

In contrast with the pieces in Roseingraves collection, all thesesonatas have rapid tempi and only two of the six are in the minor.

CD 4Kk 49 Here, the continuity of the music is interrupted several timesby fermatas between which there are cadenza-like figurationsoscillating between major and minor. The device is rhetorical instyle and it turns up again only in much later sonatas. Scarlattissearch for dramatic expression is also evident after the developmentof the second half, which culminates in a lightning scale over verynearly four octaves.

Kk 50 A fine example of total use of the keyboard by means of handcrossings, scales and arpeggios. The instruments four-octave range isconstantly exploited.

Kk 51 is somewhat akin to an Italian toccata, and the sheer delightof playing the instrument is conveyed through an uninterruptedsuccession of semiquavers occasionally highlighted by means ofchromatic figuration.

Kk 52 is a sumptuous work written in several voices and theharmonic progressions it contains must certainly have interestedBrahms when he owned the collection which is now housed inVienna (cf. Kk 219 Kk 222).

Apart from the two short dances, Kk 32 and Kk 34, and the fuguemovements, this is the first sonata for which Scarlatti does notprovide a rapid tempo marking.

Kk 53 The Parma manuscript stipulates that this sonata should bepreceded by the one now known as Kk 258. Kirkpatrick, however,was unable to fall in with this injunction since he had opted for theorder in the Venice manuscript. It is nevertheless one of the firstsigns that some of the sonatas were intended to be paired (cf.Glossary).

Kk 54 and Kk 56 have something of the flamboyant stylementioned by Kirkpatrick. The music is based on a succession ofquavers and, like so many pieces in 3/8, 6/8 or 12/8, it isreminiscent of a jota or an Italian tarantella.

Kk 55 This is marked Allegro in the Venice manuscript and Prestoin Parma. It is interesting to compare the closing bars of each of thetwo halves of this sonata with the corresponding passages in Kk 7since here we have one of the rare occasions on which Scarlattirepeats himself.

Kk 57 is a short sonata, yet it contains no fewer than ten themes.The fertility of Scarlattis imagination here is matched only by hisidleness in exploiting his ideas.

Kk 58 is a four-part fugue and it is constructed just as loosely as Kk30 and Kk 41. On the other hand, the atmosphere is austere andthere is a fine contrast between a descending chromatic subject anda rising diatonic countersubject.

Kk 59 This is an early work, as are, in all likelihood, the remainderof the pieces until Kk 64. Its style stamps it clearly as having beenwritten long before the Essercizi. Like Kk 63 and Kk 64, Kk 59 iscomparable with the dance movements which in Scarlattis dayformed the main part of harpsichord suites. Kk 60 is likewise basedon a simple construction.

Kk 61 This is the only example of a series of variations in the entirecorpus of sonatas catalogued by Kirkpatrick The theme is a shortone: six bars followed by thirteen variations of increasingcomplexity, as was customary at the time. All the repeats are writtenout since most differ slightly from the first statement.

Kk 62 is asymmetrical, but this springs less from the centralorganization of the two halves of the sonata than from the openingsand especially the closings of each one of them. The quaver post-crux(cf. Glossary Crux) in the first half differs unusually from that in thesecond, where it appears in semiquavers. Only the final closings,which are startling in the violence of semiquavers spread over threeoctaves, are identical in the two halves apart from a few notes in theaccompaniment.

Kk 63 is marked Capriccio and Kk 64 Gavotte (cf. supra Kk 59).Kirkpatrick points out the similarity between Kk 63 and a piece byAdolfo Hasse published in London in 1740 (Op.2, Sonata No.4, 3rdmovement).

CD 5Kk 67 The Classical, almost archaic, style of this sonata lies in the useof imitation writing. There is not a single bar which does notrelentlessly repeat the four notes of the broken chord heard at theoutset.

Kk 68 is also constructed from one end to the other on a singlerhythmic motif:

This sonata falls within the range of dance pieces to be foundamongst the early manner compositions. None of the manuscriptsources gives a tempo marking.

Kk 69 Although this is a polyphonic and almost orchestral sonata, ittoo is driven along by a single rhythmic motif:

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The writing, however, is more sophisticated. For example, there isa shift of a whole beat the first three times the rhythm appears in the bass.

Kk 70Kk 72 These three sonatas are quite clearly related to oneanother. The use of imitation writing and the way the in which thepieces move along in a predictable fashion show that they are in themould of the classical toccata. According to Giorgio Pestelli, theseare early works dating back either to when Scarlatti was in Venice(17051709) or to when he was in Rome (17091719). Pestellisuggests that Kk 72 is the very first piece written for the harpsichordby Scarlatti, but there is no reliable evidence either to support or torefute the idea.

Kk 73 is a suite of three pieces, the last two of which are markedMinuetto. The thematic material in each one of them is given apowerful accent on the strong beat of each bar:

The three ascending motifs appear in each piece in figurations ofincreasing complexity. The last minuet has a figured bass, whichsuggests that the whole group could be played by a small ensembleof instrumental soloists with continuo.

Kk 74, like Kk 63, is a capriccio and the relationship between thetwo is obvious. It is nonetheless interesting to note their differencesof dynamic treatment. The heavily-laden chords of Kk 63 and itscadences contrast sharply with the fluidity of Kk 74.

Kk 75 is a minuet which one can quite well imagine being playedby a chamber ensemble. In both halves, there are quite clearly soliand tutti passages.

Kk 76 The polyphony here is a shade convoluted, and as though toescape from this, Scarlatti concludes each of the two halves with adazzling passage spread over the whole keyboard. (cf. Kk 62, theonly similar example.)

Kk 77 Here we have a charming accompanied melody leading to aminuet, and the writing clearly suggests performance by a chamberensemble of soloists and continuo. Later, it will be seen that almostsystematically, the sonatas tend quite naturally to go in pairs. Thetwinning here of two contrasting pieces is the first example of whatScarlatti was to make a general practice.

Kk 78 is also made up of two linked pieces. They are taken fromthe Coimbra manuscript (cf. Glossary) where they appear under thetitle Toccata X together with Kk 85, Kk 82 and Kk 94.

Kk 79 is a very beautiful toccata treated in imitation. The closingsare full of rhythmic brilliance.

Kk 80 This is an entrancing minuet with a figured bass. It is thesecond piece in Kirkpatricks catalogue not to appear in Longosedition all the more surprising since Kk 79 and Kk 80 appeartogether as number XLV in the Venice manuscript, the source usedboth by Longo and Kirkpatrick.

Kk 81 See CD 34.

Kk 82 This piece, like Kk 85, is not in binary form, making it a rareexception in Scarlattis output. However, not too much should beread into this since the two pieces form part of a suite in theCoimbra manuscript (cf. Glossary) under the title Toccata X. Therest of the suite consists of sonatas Kk 82, Kk 85, Kk 78 (gigue andminuet), and Kk 94 (minuet). Had Kirkpatrick followed strict logic,he would have put the suite at the beginning of his catalogue; this,however, would have deprived him of the chance of giving pride ofplace to the Essercizi.

Kk 83 Here, as in Kk 77, we have an example of twocomplementary pieces. There is a strict, two-voiced prelude, noteagainst note (a third notes reinforces the harmony at each closing)followed by a minuet whose two sections are unusually symmetrical.

Kk 84 This is an odd piece of work. There is a systematic use ofparallel thirds and sixths alternating with a quaver reply patternbetween the two hands. Probably experimental.

Kk 85 This toccata shows every sign of being an early work. LikeKk 82 it consists of a single section, but on this occasion there is arepeat sign at the end.

Kk 86 and Kk 87 These are more carefully worked-out pieces. Thepolyphonic writing in three parts in Kk 86 and in four parts inKk 87 and the interesting rhythmic patterns have led to theirbeing used for many transcriptions. They illustrate Scarlattispolyphonic compositional technique of making each voice moveforward in single alternate steps. Many of the later sonatas featurethese short disjointed progressions.

Kk 88Kk 91 See CD 34.

Kk 92 The polyphonic writing of this sonata is notable for thesystematic repetition of the pattern:

Sonatas Kk 8 and Kk 238 are treated in the same manner.

Kk 93 Here we have the last but one of the five fugues inKirkpatricks catalogue. The theme is rather academic and the fourvoices move along most of the time in parallel.

This is the last piece in the Venice manuscript dated 1742. (Thereis, in fact, yet another piece, but it is simply a repetition of Kk 52,with a few minor variants.)

CD 6Kk 94 is a short minuet with a form unusual for Scarlatti. Theopening theme reappears without alteration a few bars before theend. The piece does not feature in Longos edition, the only sourcebeing the last movement of Toccata X (cf. Kk 82).

Faithful to the chronology of his sources, Kirkpatrick puts thefollowing three sonatas together as a result of their appearingtogether in a French edition by Veuve Boivin. Kk 95 and Kk 96appear in later sources. Kk 97 on the other hand appears nowhereelse, not even in Longos edition.

Kk 95 This sonata is by way of being a study for right-hand crossingover a non-stop triplet figuration played by the left hand. Scarlatticould well have switched hands for each repeat.

Kk 96 This splendid piece of work deserves its fame both for thevariety of its themes and for the orchestral nature of the writing. Itopens with the brass and the subsequent figures have a mandolinaccompaniment. Each half has a polyphonic passage leading to agrand tutti closing.

Kk 97 This is an entirely different kettle of fish. I should be happyto wager that the piece is not by Scarlatti. It does not appear in themain sources and the compass is wider than in any of the sonataswhich Scarlatti wrote around this time. Above all, it is full of clumsywriting not to be found anywhere else in his compositions (themodulations in bar 15, the repetitions in bar 40, the octaves in bars60 to 68 and the banal, resonant cadences).

Now follow the pieces which feature in the Venice collection dated1749. They do not, however, necessarily date from this epoch.

Kk 99 and Kk 100 These two pieces are combined to form a singlesonata in the Venice manuscript dated 1749. They are even joinedtogether by the instruction volti subito at the end of Kk 99. There cantherefore be no doubt about the pairing, even if one of the pieces isin the minor and the other in the major.

Kk 101Kk 103 provide us with some of the rare examples of slursin the manuscript sources. All apply to arpeggios or rapidly-executedscales, but it is difficult to rely on them for drawing any generalconclusions as to the manner of articulating Scarlattis compositions.

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Kk 101 and Kk 103 both have highly spirited motifs. The unisonmotif which appears in Kk 101 reappears in Kk 102 and this sonata,in its turn, takes the inspiration for its closing from sequences alreadyused in Kk 7 and Kk 55.

Kk 104 is called a toccata in the Mnster and the Viennamanuscripts. The piece is full of contrasts, such as alternating notes,ostinato chords supporting melodic commentaries, and handcrossing motifs which create the illusion of the music being playedby three hands.

Kk 105 It is tempting to pair this sonata with the preceding onebecause of its tonality. But the time signatures are the same 3/8 and Scarlatti carefully avoided such repetitions in his pairing.Note the appearance of the rhythmic pattern:

This is a sort of fingerprint to be found in a great many sonatas.

Kk 106 and Kk 107 In the Parma manuscript, Kk 106 is marked,not Allegro, but Andante, which seems better suited to this generallypeaceful sonata and justifies its pairing with Kk 107. Note the oddending in the minor in Kk 107.

Kk 108 is incredibly powerful. The harpsichord turns into anorchestra complete with timpani.

Kk 109 and Kk 110 The only Adagio in the whole uvre (eventhen, the marking in the Parma manuscript is Andante Adagio).It is followed by a piece which quivers with syncopated rhythms

trills, repeated notes and notes alternated between the two hands.

Kk 111 The bulk of this curious piece consists of a motif of twooff-the-beat chords for the right hand. The figure appears twenty-sixtimes, so with the repeats, one actually hears it fifty-two times!

Kk 112 This monothematic sonata hinges around the rhythmsconstantly taken up by the left hand.

The liberty acquired by Scarlatti in gradually breaking out of the straitjacket of closed binary form is clearly marked in thefollowing pair of sonatas with the appearance of both free anddeveloped forms.

CD 7Kk 113Kk 114 After a powerfully stated opening, Kk 113continues with a long chain of quavers through major and minorkeys close to the tonic. Kk 114 provides a contrast by means ofvaried rhythms. Everything is reminiscent of traditional Spanishmusic. The opening is in the nature of a country festival and therefollows, in the second half, a descending seven-note throatyFlamenco chant decorated with trills, rhythmic figurations androcketing scales.

Kk 115Kk 116 Several of the sequences in these two sonatas cometo an end with long scale passages or sustained pauses. The musicbecomes dramatic, being reinforced with acciaccaturas andsurprising modulations.

Kk 117 This is an isolated sonata written throughout for two voicesin alternate quavers for right and left hand.

Kk 118Kk 119 The steady Non presto Kk 118 serves as a preludeto the almost incredible outbursts of Kk 119 where Scarlatti achievesa crescendo by increasing the weight of the obsessively-repeatedchords. The first chords consist of three notes, and these aregradually increased until they reach as many as eleven.

Kk 120 This is where Scarlatti pushes his hand crossings to theirlimits. The sonata is exceptionally difficult when played up totempo, i.e. Allegrissimo.

Kk 121 This sonata, which is just as flamboyant as the one whichprecedes it, obliges the performer to make rapid leaps up to twooctaves. Note the whole-tone modulation at the beginning of thesecond half.

Kk 122 The rhythmic pattern here is one that has often appearedalready:

It appears throughout the sonata. The opening contains a dominantcadence reminiscent of Kk 33.

Kk 123 Were it not for the unusual tonal layout, this sonata wouldseem almost archaic, with its three-part note-against-note writing,embellishments and imitative passages.

Kk 124Kk 125 A sumptuous pair of flamboyant sonatas. In Kk124, a torrent of arpeggios provides a framework for a Spanishtheme accompanied by ostinato chords. Kk 125 is just as powerfulin its expression. It is written throughout for two voices. It owes itsasymmetry to differences in the post-crux in each half, even thoughthe rhythmical idea is the same.

CD 8Kk 126 The melodic sequences, separated from one another byarpeggios and chromatic figurations over ostinato chords, differaccording to whether they fall on the beat or off the beat. And herewe have two of Scarlattis most familiar fingerprints.

Kk 127 The systematic division of this sonata into groups of fourbars and the conventional harmonic progressions mean that it hasmuch of the character of a dance.

Kk 128 This sonata has much in common with the preceding onethrough the innocent charm of its thematic material and the style ofits harmonic progressions and rhythmic patterns.

Kk 129 The division of each half of this sonata around the fulcrum(called the Crux by Kirkpatrick, cf. Glossary) is underlined here bytwo pauses which punctuate the somewhat repetitive musicaldiscourse.

Kk 130Most of the material here consists of parallel thirds and sixthsand octaves, and in the main the piece stays in the relative minor ofthe opening tonality.

Kk 131 The tonality is unusual, and the sonata is based essentiallyon moving thirds. Kk 23 and Kk 136 provide similar examples.

Kk 132Kk 133 Charm and vivacity are the contrasting features of this pair of fresh and luminous sonatas. Kirkpatrick saw in themthe climate of Aranjuez. Scarlattis increasing use of the free formmeans that many new themes are introduced into the second half of Kk 132.

Kk 134Kk 136 These three sonatas appear in exactly the sameorder both in the Parma and Venice manuscripts. They are the firsttriptych in Kirkpatricks catalogue, all the more justifiably onaccount of the contrasting time-signatures: 2/4, 6/8 and 3/8.

Kk 137Kk 138 The regular quaver movement in Kk 137 istriggered off by a syncopated theme which reappears at thebeginning of the second half after each post-crux. There are fewsonatas of such perfect symmetry as Kk 138, which contains threealmost identical sequences repeated in the same order:A,B,C/A,B,C.

These are the last pieces in the Venice manuscript dated 1749. Onlytwo out of the next nine sonatas appear in the Parma manuscript. Sixof the others are taken from English manuscripts (Worgan and

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Fitzwilliam) and the last one, Kk 147, is taken from copies made byAbb Santini and now housed in Mnster (id.). The three sonatasKk 142, Kk 143 and Kk 144 do not appear in the Longo edition.

Kk 139 (CD 8) Kk 140 (CD 9) Two highly virtuosic sonatas. Thesecond, in particular, is one of the most difficult in the whole ofScarlattis works.

CD 9Kk 141 This is one of Scarlattis best-known pieces. The series ofrepeated notes over an accompaniment which is heavily laden withacciaccaturas provides a contrast with the generous flow of theconcluding passages of the two halves.

Kk 142 Many of Scarlattis moto perpetuo pieces in quavers are muchakin to Italian tarantellas. This one stands out from the rest onaccount of its use of acciaccaturas and syncopations and through theinterjections which lead up to each post-crux.

Kk 143 This is a difficult piece with chains of fast parallel thirds,sixths and octaves. In addition, there are some awkward contrariwiseleaps, not used by Scarlatti subsequently.

Kk 144 and Kk 146 The sources used by Kirkpatrick as the basisfor his numbering system provide no evidence that these two sonatasshould be associated with each other. Nevertheless, from the purelymusical point of view, they meet the usual criteria for pairing.

Kk 147 Doubts may be cast on the authenticity of this sonata onaccount of the opening and the demi-semiquaver passages in thepost-crux. Jol Shevaloff and Gerstenberg reject all the pieces fromKk 142 to Kk 147 (these do not appear in the main sources) as beingforeign to Scarlatti both in form and harmony.

With Kk 148, we begin a new series of sonatas which differ radicallyfrom the preceding ones. They are shorter and less complicated andappear to meet the promise made by Scarlatti in his preface to theEssercizi to provide easier and more varied pieces for his admirers.

The twenty-nine pieces in this series form a group in the firstvolume of both the Parma and the Venice manuscripts (the latter isdated 1752). All bear the title Toccata in the Parma manuscript.They are not strictly speaking pedagogical pieces, but there is nodenying that they gradually increase in difficulty whereas many ofthe ones before demand a high degree of skill. Gradually, we comeback to the level of difficulty to which Scarlatti has accustomed us.

A number of the pieces require a more extended keyboard thanusual (Kk 148Kk 153) because of the mordants. This fact,combined with the even more important question of the style of thesonatas, has led experts to wonder about the instrument on whichthe pieces were intended to be played. There were some fortepianosat the court of Spain, and Kirkpatrick suggests that the first eightsonatas (Kk 148 to Kk 155) were written for these instruments.Shevaloff takes this idea even further and goes right up to Kk 265!As research stands at the present time, all this cannot be more thanmere conjecture.

The pairing of sonatas becomes very nearly the general rule in thisseries. Twenty of the first twenty-one sonatas are paired and the last(Kk 176) forms a sort of pair in itself.

The accompaniments in these pieces are simplified, the chords rarelyhave more than two notes in them, and in Kk 149 and Kk 154 theyare often reduced to groups of three quavers or crotchets.

A Scarlatti fingerprint is nevertheless apparent in many sequencessuch as:

CD 10With Kk 156, the undertaking to keep the music fairly easy seemsto have fallen by the wayside, even though the pedagogical element

has not disappeared entirely. The first eight sonatas are virtually intwo-part writing, but very quickly Scarlatti introduces itemsrequiring greater keyboard mastery, as for instance theheavily-charged passages in Kk 156 and Kk 158, and the wide jumpsin Kk 157.

Kk 159 is a wonderful little sonata. The opening sounds like afanfare of hunting horns. The general form of the piece is Classical inthat the main theme reappears in the tonic at the end of the secondhalf.

Kk 160Kk 161 With all due deference to supporters of thefortepiano, I feel that it should be suggested that the writing of Kk161 demands a two-manual harpsichord in order to make it possibleto play the same notes written for the two hands and to bring outthe alternating motifs. The discourse of these two sonatas ispunctuated by several fermatas.

From time to time, Scarlatti resorts to unusual binary forms. Some,like Kk 162, which it is interesting to compare with Kk 176, havea structural base of contrasting tempi. Both these pieces containseries of slow and fast sequences, while remaining within thetradition of binary form. Note that after the double bar, it is the fastsequence which resumes in Kk 162 and the slow sequence in Kk176 (cf. also Kk 170).

Kk 164 From one end to the other, this sonata repeats, either withor without acciaccaturas, the same figure made up of two crotchetsand a triplet. Scott Ross succeeds in breaking the monotony by theoccasional use of the lute stop.

This triplet figure again appears in Kk 165 alongside a minim or twocrotchets. The linear character of sonatas Kk 164 to Kk 170strengthens the case for their having been designed for amateurs whowould be put off by the sometimes considerable difficulties of piecesfrom the flamboyant period.

Kk 166 The above-mentioned linear character is particularlyevident here in the simplified accompaniments, which are limited toa single note or a two-note chord on each beat.

Kk 167Kk 168 The background picture is much the same here asin Kk 164, but the elaborate triplets are supplemented by trills andmordants and the tempo is faster. This sonata is paired with Kk 168, which appears to be a study for the stressing of weak beats.

Kk 169 This sonata is based on the rhythm of a Spanish tango.It could well be paired with Kk 171 on account of its styleand contrast. The two pieces, however, appear separately in thevarious sources.

Kk 170 This sonata complements the ideas put forward on theprevious page about Kk 162 and Kk 176 with regard to the differentvarieties of binary form. Here, the layout is simpler, the slow and thequick sequences being separated from each other at the double bar.

Kk 171 Yet another example of a pedagogical sonata. The repetitionhere occurs on the following rhythmic motif:

Kk 172 The rhythm here is that of a tarantella, and Scarlatti goesthrough the whole range of the modulations in his repertoire:

modal: after the crux in each half, the sequences modulate frommajor to minor and vice versa;harmonic: the harmonies progress through part of the cycle offifths before the first crux, creating an atmosphere worthy ofBeethoven;in whole-tone steps: these appear in each half, rising in the first(from B flat to C) and in the second, first rising then descending(from G to A, then from D to C).

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CD 11Kk 174 A hand crossing study. The right hand then the left handkeep on traversing the non-stop quaver pattern in the middle of thekeyboard. The fine amplification of the syncopated pattern in thefinal cadence is worth noting.

Kk 175 A study in the playing of acciaccaturas, particularlydeveloped in the openings and the central parts of each half. Manyof the chords contain up to ten notes, including some outsideaccepted harmony, and they create a telling, almost frighteningeffect.

Kk 176 This sonata, whose structure has been compared with thatof Kk 162, is the last piece in Volume 1 of both the Venice and theParma manuscripts. Kirkpatricks catalogue continues with thesonatas which appear in the second Venice volume (Kk 177 to Kk 201).

All these pieces were composed before 1752. Most of them are inpairs, and the earlier ones in particular the sonatas in 3/8 inaddition to containing the usual Scarlatti rhythmical figures,summon up images of flamenco song through the introduction oftense and ornate melodies which hover above as ostinato bass. Oneof Scarlattis fingerprints,

is heard both in Kk 178 and Kk 179. The development in Kk 180displays an extraordinary extension of this Spanish style of singing.The tense vocal line is here accompanied by chords which are madeprogressively richer and create a genuine crescendo effect. Note alsothe opening in Kk 177 and the sequences which conjure up a fanfareof trumpets.

Kk 177 is the first in a new series of sonatas, and up to Kk 201 theyappear in Kirkpatricks catalogue in the order in which they are tobe found in the second Venice volume.

Kk 177Kk 180 form two pairs in which the metres are inversed:C3/8, 3/8C, proof that the progression of movements is lessimportant than contrast of metre in the system of pairing.

Kk 181 A single theme runs right through this sonata,characterised by the following rhythm:

The intervals in the rising scale lend it an oriental character.

Kk 182 The sequences in this sonata are linked by a short figure inwhich two notes run from octave to octave. On this occasion,Scarlatti takes his music into the realm of the theatre. The tensevocal-chant style appears in the second half of the sonata and ismaintained until the end. The concluding passages of the two halvesare different.

Kk 183 Were it not for the trills and the syncopated passages whichunderline the gap between Scarlatti and his Europeancontemporaries, the opening of this sonata and the imitation passagescould well have made it an allemande from a typical harpsichordsuite of the time.

Kk 184 This sonata opens conventionally enough, but very soon weare led into a typical Spanish dance atmosphere, full ofhand-clapping, heel-stamping and the rattle of castanets.

Kk 185One of the rare cases in which the main theme is announcedin the bass. Although it has the style and the carriage of a chaconne,this sonata is developed with Scarlattis own brand of magic.

Kk 186Kk 187 These two sonatas are related to one another bysimilarities in the various rhythmic patterns they contain, and it istempting to extend the relationship to include all the pieces from Kk 183 onwards as forming a suite in F minor. Five pieces appear atthis point in the Venice manuscript, but on various grounds theyhave already been incorporated in Kirkpatricks catalogue.

Kk 188 There is a series of semiquaver triplets in this sonata whichare identical with those in Beethovens second trio. Although it is ofcourse a pure coincidence, one cannot help noticing the fact whenplaying them.

CD 12Kk 189 Many of the Scarlattis fingerings have more to do withshowmanship than with musical performance. For example, theplayer is required to perform the post-crux of this sonata with onehand only. Most composers provide fingerings designed to helpperformers actually to be able to play their works, but on thisoccasion, Scarlatti imposes a difficulty in order to create a stage effect.

Kk 190Kk 193 The Venice manuscript, and in consequenceKirkpatricks catalogue which is based on it, provides no tempomarkings for these sonatas. We have therefore used the Parmamanuscript as a guide to the tempi for the present recording anillustration of the usefulness of comparing sources even if, in the caseof the pairing of sonatas, not all doubts can be cleared up.

From Kk 189 to Kk 198, for example, the Venice manuscriptsuggests only three pairs, leaving four of the pieces isolated andthese are nevertheless associated in the Parma manuscript:

In the Parma manuscript, Kk 190 forms a triptych in B flat majorwith Kk 189 and Kk 202;Kk 191 likewise forms a triptych in D major with Kk 213 and Kk214;Kk 196 makes a pair in G with Kk 210;Kk 198 makes a pair in B minor with Kk 203.

Kk 190 It was Kirkpatrick who drew attention to Scarlattis habit ofdividing each half of his sonatas into two distinct zones, and thedivision here is unusually clear. The two zones are separated by afermata which is itself announced by a descending arpeggio. Notehow after the fermata, the tonal schema hovers between major andminor in a manner frequently adopted by Scarlatti.

Kk 197 Here we have yet another example of the usefulness ofcomparing sources. There is a very slight difference between theParma and the Venice manuscripts on the transition from the firsthalf of this sonata to the second. The Venice manuscript carriesstraight on whereas the two halves are separated in the Parmamanuscript. In his critical edition, Kenneth Gilbert leaves the choiceto the interpreter. Scott Ross opts for the second solution.

Kk 198 A singleton toccata in two-part writing (there is a pedalpoint in the development and there are chords in the closingcadences). The severe style of this piece puts it alongside sonatas Kk70, 71 and 72. The tonal layout is straightforward, but the cadencesare rich in sound.

Kk 199Kk 200 These two sonatas illustrate how Scarlatti managesto free himself from the bonds of traditional binary form. Both areopen. Kk 199 is concentrated: the second half includes only two ofthe three sequences heard in the first half. Kk 200 is free: thebeginning of each half is different, but the atmosphere is the same.The free form occurs again in Kk 201.

Kk 202 Here, Scarlatti offers yet another original form created outof three different sequences: A 3/8 B 6/8 C 3/8. The outsidesections (A and C are clearly related and they serve as a frame for B,which is a lengthy and constantly modulating sequence on therhythm of a sicilienne. The final layout, resulting from the interplayof the repeats, is: A/A/B/C/B/C.

CD 13The sonatas numbered from 202 to 205 in Kirkpatricks cataloguedo not appear in any of the manuscripts in the Venice collection.The source is therefore the Parma manuscript, where they are to befound in the fourth volume dated 1752. Kk 203 forms a pair withKk 198 they follow one another in the Parma manuscript underthe numbers 20 and 21. The next two sonatas, 22 and 23, also forma pair, but curiously enough, on this occasion Kirkpatrick stressestheir association by giving them the numbers 204a and 204b in his

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catalogue. The first is complex in form: the metres vary(C 3/8, 6/8) and the tonality shifts constantly between major andminor. The second, on the other hand, is a sort of elaborate minuetconstructed over a single rhythmic pattern.

Alessandro Longos edition (Ricordi) includes neither Kk 204a norKk 204b.

Kk 205 This is a singleton, but it has features in common with Kk211 (repeated notes) and Kk 214 (syncopations). The free formcontains a blend of fragments in duple time (C) and triple time(12/8).

Kk 206 There can be no doubt that this piece marked a turningpoint in Scarlattis life as a composer. In the preceding sonatas, thereare clear indications that he was seeking new types of formalstructure. From now on, he kept strictly to the forms he had finallyarrived at, sometimes striving for greater simplicity, even if it meantgiving more attention to the development in the second halves ofthe sonatas and to their tonal structure. The first experiments in thepairing of sonatas have already been noted. From now on, not onlywas the pairing to become systematic but a clear pattern appears.There are many more slow movements and these serve as preludesto the quicker movements by which they are invariably followed.

People usually think of Scarlatti as the composer of virtuosic musicand his pieces in slow tempi are not well known. From now on, webegin to see the composer harnessing his prodigious performingskills to the expression of pure lyricism.

Kk 206Kk 207 These sonatas provide an illustration for the aboveremarks. They are full of surprises and are sharply contrasted. On theone hand there is a generous and flowing melodic line and on theother a stream of dazzling virtuosity.

Kk 208Kk 209 Yet another marvel! If I had to choose one sonata,it would be Kk 208. All the more so since the piece with which itis paired, a joyous and lilting jota, is a perfect antidote to themelancholy of its mate.

Kk 210 This little monothematic sonata should no doubt be pairedwith Kk 196; the two pieces appear consecutively in the Parmamanuscript.

Kk 211Kk 212 The contrast here is remarkable. After Kk 211,which meanders gently along and contains spicy overtones of themandolin, there comes the heroic power of Kk 212, particularlyevident in the development. The surprise effect produced by theenchainments of the development is enhanced by the abrupt keychange at the double bar.

Kk 213Kk 214 Another beautifully-balanced and contrasted pair.Kk 213 was used as the signature tune for the year-long broadcast ofthe complete Scarlatti recording on French radio.

Kk 215Kk 216 The development sections in the second halves ofboth these sonatas are exceptionally beautiful. In Kk 215, a series ofpunctuations, laden with acciaccaturas (carefully omitted by Longo)and repeated three times (CEF) provide a good illustration of thesudden modulations that Antonio Soler speaks about in his Llave dela modulacin. The opposite applies in the case of Kk 216. Theharmony is made to evolve in a hardly perceptible fashion, rather inthe manner of Schubert in some of his sonatas. On this occasion, thetense vocal improvisation is turned into a melody.

CD 14Kk 217Kk 218 Whilst it is true that most of the openings of thesonatas are treated in imitation, there are few that are as ornate as Kk 217. The post-crux on the other hand is powerful and orchestralin atmosphere. Moreover, the whole of the keyboard is traversedwith hand crossing passages. There is contrast, too: Kk 218 bringsthis pair to a close with a particularly spirited moto perpetuo.

Kk 219Kk 222 Once again, in these two pairs of sonatas, we havethe same systematic contrast between the orchestral style of the firstpiece and the voluble outpourings of the second. The handling ofthe tonalities in these four sonatas is exceptionally fertile. The keysconstantly hover between major and minor and there are numerousseries of sudden modulations a whole tone upwards. There arefrequent changes of key signature, as many as five in the case of Kk 220.

Nobody listening to these recordings should be in the slightest doubtthat the music is rich, generous and invigorating. But is it reallysomething that was rediscovered only in the twentieth century? TheVienna Library, for example, possesses a collection of manuscriptcopies of pieces by Scarlatti. These copies were the work of AbbSantini and at one time the collection was owned by JohannesBrahms, who made careful notes on each volume, comparing thesonatas with those which were published at the time by Czerny. Heeven went so far as to make a detailed index. Even though the twocomposers were worlds apart, one must nevertheless suppose thatBrahms subjected the sonatas to the closest scrutiny. One wonders ifhis reason for using the opening of Kk 223 as the theme for one ofhis most popular lieder (op.72 no.5, 1876) might not have been awish to underline his interest in Scarlatti.

In the two pairs formed by Kk 223Kk 226, polyphonic sequences(those in Kk 224 are to be found also in Kk 150) and rhythmicsequences containing syncopations and accented weak beats appearside by side. Such variety and freedom of compositional styleproduce a dazzling effect. Note the closings in Kk 226, which differsomewhat unusually from each other, the whole sonata beingbrought to an end by a taut stretto.

Kk 227 As is the case with Kk 170, this sonatas unusual charactersprings from the differences in time signature in the two halves, thefirst being in 2/4 and the second in 3/8. Note the particularlyvirtuosic conclusion in F sharp minor to the first half. Just as latercomposers were to do Chopin and Liszt, for example Scarlattioften exploited the remote keys for their ease of performance.

CD 15The evolution of Scarlattis compositional style can be seen if acomparison is made between identical passages in the earlier and thelater sonatas in Kirkpatricks catalogue. Take, for example, the wayleft and right hand scale passages are linked in Kk 229 (CD 14) andKk 43, or the interplay of alternate notes in Kk 230 and Kk 29.These details are introduced into sonatas which are certainly morebalanced and have a greater degree of finish even though they maynot be any richer in style.

In itself, the treatment of alternate notes reveals differences. Thosein Kk 39 and Kk 104 demand the use of two manuals. This does notapply in the case of Kk 418 or Kk 468. On the other hand, thewriting suggests that the notes should be given greater resonancethan in Kk 230.

Kk 231 contains a rhythmic pattern which is obstinately repeatedsixty times:

Kk 232Kk 233 Note the similarity between the rhythmic motifs inthe post-crux of these two sonatas.

Kk 234 The whole of this sonata is based on short sequences whichreply to each other in imitation. In each post-crux, however, a themeon unaccented beats makes an appearance.

Kk 235 This sonata is in a highly individual form: there is asicilienne in place of the development. As in Kk 202, the 6/8sequences modulate a long way from the opening key, but the outersections do not have the same symmetry as in Kk 202 (only thepost-crux from the first section of the sonata appears after the 6/8 to

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bring the piece to a close). This strengthens the concept ofdevelopment whereas Kk 202 is closer in spirit to sonatas containingseveral alternating tempi.

Kk 238 The rhythms in this sonata recall pieces in the French style.Yet, according to Kirkpatrick, these very rhythms are based on afolk-song from Estremadura. It should be noted that, following thecustom of the time, the proper value of rests and upbeats is notshown in the score. The notation of Kk 92 in a similar context ismore accurate.

Kk 239 There is an insistent repetition (78 times!) of the samerhythmic motif

easily recognisable as being that of a Spanish traditional dance, theSeville seguidilla.

Kk 240Kk 241 The first is one of Scarlattis longest sonatas. TheSpanish theme at the heart of this piece is carefully heralded by aseries of short sequences which appear with perfect symmetry in thetwo halves. The sequences are successively in imitation style, eitherdriven along by firm rhythmic motifs or yet again enlivened byharmonic progressions moving stepwise in whole tones. This sonataforms a pair with Kk 241, a gigue with a long chain of quavers.

Kk 242Kk 243 The absence of a first beat in the accompanyingfigures of Kk 242 is one of Scarlattis fingerprints. In Kk 243, it isthe very insistence of the rhythmic patterns and the variety of themelodic figures to which they give rise which reveal the identity ofthe composer.

CD 16Kk 244Kk 245 A pair in the unusual tonality of B major thereare only five sonatas with five sharps in the key signature. Thecomposer here roams through all the keys at his disposal, particularlyin Kk 244, which incidentally contains the fingerprint

Kk 245 is a gigue.

Kk 246Kk 247 This pair of sonatas is marked by the intricacy ofthe writing. Kk 246 is rich in modulations, particularly enharmonicmodulations, and in Kk 247, Scarlatti overlays the basic rhythmicmotif

with secondary motifs such as

Kk 248 It would be pleasant to hear the development of this pieceplayed by a guitar accompanied by other instruments in order tobring out the contrast between its perpetually modulating motif andrepeated notes over an almost identical bass.

Kk 249 This piece is typified by the introduction of a number ofSpanish rhythms including that of the oytabado (cf. Kk 255) and byScarlattis use of modulating bridge passages which are virtually tutti passages.

Kk 250 Somewhat unusually, the sources indicate a number of slurs,which inevitably leads one to the conclusion that the sonata wasintended for a single-manual instrument.

Kk 251 This piece takes on the strangely modern atmosphere of apopular waltz as a result of a slight change in the now familiar motif

Kk 252 The opening is fairly conventional, but the fandango-likerhythm in the post-crux, in which the motif

is repeated 32 times, comes as something of a surprise.

Kk 253 The beginning of the second half of this sonata, where thereare gentle modulations around three repeated quavers, is one of itsmost noteworthy features.

Kk 254 This uncomplicated little sonata appears to be anexperiment in the staggering of imitation voices. There are foursequences in canon at the octave, and a large number of tinyoff-the-beat accents which lend it a slightly chaotic charm.

Kk 255 In the excellent preface to his edition of Scarlattis sonatas,Kenneth Gilbert tells the delightful story of the oytabado and tortorillamarkings which appear above some of the sequences in this sonata.For a long time, these were supposed to be the names of stops onthe Portuguese organ. In reality, as L.F. Tagliavini has shown, theysimply refer to a folk dance and to the cooing of a turtle-dove.

Kk 256Kk 257 Scarlatti embroiders a large number of imitationsof the initial motif of the first of these sonatas to make a highly lyricalcomposition which serves as a graceful prelude to Kk 257, a two-part toccata. Note the different endings to the two halves ofKk 256; likewise, those in Kk 254.

CD 17Kk 258 This sonata and Kk 53 form one of the rare pairs in theParma manuscript. Is it a scribes mistake? Was it a consequence ofthe difficulty of making a collection of Scarlattis works which couldwell have been scattered? It is hard to say.

Kk 259 is an example of the so-called concentrated form. Theopening, treated in imitation, does not appear in the second half, butthere is the same disposition of four sequences in the two halves.

Kk 260 There are a few unusual features in this long symmetricalsonata. The closings are different, which is rare, and the keysignature is altered eight times, which is unique. The tonal picturein both sections of the sonata is complex, and the modulatingpassages could be described as developments in three sequences.

Kk 261Kk 262 Both these sonatas are in the unusual key ofB major. In the first, this tonality is soon abandoned in favour ofA minor and there follows a gripping development in the secondhalf where powerful chords punctuate a feverish repetition of thesame note (eighty times). The A minor sequence reappears inidentical form in B minor and C sharp minor. Kk 262 is a sort oftarantella streaked through with lightning scales.

Kk 263Kk 264 The first sonata, a toccata in the minor, closes withone of the heavily-laden cadences to be found in the earlier piecesin Kirkpatricks catalogue. Nevertheless, the freedom with whichScarlatti handles the imitation entries in this sonata and theinterrupted rhythmic passages in the opening mean that it is out ofthe question to ascribe the piece to the composers early period. Thesecond sonata, which is in the major, provides several instances of Scarlattis mastery in controlling the dynamics of the harpsichord.In the final part of the extension, he gradually swells out the chordsto bring them up to seven notes, thereby creating an unusualcrescendo effect.

Kk 265 is a rondo. A short principal subject is followed by threecouplets in 6/8. There is a coda in which the principal subject isdeveloped.

Kk 266Kk 267 These are written respectively for two voices andfor three voices. From the first crux onwards, right up to the end, thefollowing rhythmic motif appears in every bar:

CD 18Sonata Kk 268 marks the beginning of a new series of takes in ScottRosss recording, the instrument used being one by William Dowd.

Kk 268, Kk 269 In Kk 268, Scarlatti seems to be trying out thevarious directions in which a modulation can be taken. Several

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times, having set off in a given tonality, which he establishes bymeans of the motif:

he leads the musical discourse to a tonality a third away, a fourth oreven a fifth, only to come back to the point of departure. Kk 269 isanother of the many tarantellas which feature as the second partnerin a pair. This one modulates rather more than usual.

Kk 270 None of the sources provides a tempo for this sonata, whichseems to be a sketch experimenting time and time again with theopening motif

By using a lute stop, Scott Ross adds a degree of character to thepiece and emphasises the wide leaps carried out by the left hand.

Kk 271 A two-part toccata.

Kk 272 There are hardly any bars where the rhythmic motif

does not provide the impetus throughout this slightly monotonoussonata. Its partner, Kk 273, provides a complete contrast. The formis quite unusual. The second half opens with a 6/8 pastorale, whichbreaks away from the 3/8 metre of the rest of the sonata. Thedance-like atmosphere is enhanced by the fact that the piece isdivided up into five eight-bar sections. The closing stages of eachhalf are full of splendid virtuosic sequences.

Kk 274Kk 276 According to Kirkpatrick, this is the first of thetriptychs. In all, he allows only four, which means that the way heinterprets his own definition for this type of group is highlyrestrictive. By following exactly the same principles tonal unity,variety of time signature and proximity in the sources as many as twelve triptychs can quite easily be located. The Parma manuscriptproposes even six further ones. Note the systematic use of the motifannounced in the first bar of Kk 274, the frequent interruptions in the rhythmic figuration of Kk 273 where quavers, triplets,semiquavers and accented weak beats come in quick succession.Note also the exclusive use of the minor in Kk 276 and the way in which a short thirteen-bar coda leads back to the original key ofF major.

Kk 277Kk 278 In lyrical pieces such as the first of this pair, onecannot but admire the charm and the economy of Scarlattis writing.Kk 278, too, is an uncomplicated little piece in the shape of atarantella with a well-defined crux which is underlined by a fermataled into by means of a descending arpeggio.

Kk 279 This piece is a sort of harmonic maze in which Scarlattiseems to enjoy himself simply by wandering through every possiblekey: A/a/C/G/A/B/b/G sharpA flat/B flat/e flat/d flatc sharp/F sharp/b/e/D/G/A, and, of course, going throughenharmonic changes in the process.

Kk 280 A fine example of the concentrated form pushed to itslimits. Nothing which appears up to the first crux in this sonatafeatures in the second half. The development, however, retrievessome of the material of the post-crux (had new material been used,the sonata would have been in free form).

Kk 281Kk 282 There is a surprising feature in the construction ofKk 282. The two halves of the sonata are made up of three separatesegments: a,b,c//d,e,f. Segments a and d, and above all c and f,resemble each other closely though the closings and thetranspositions differ slightly. The central segments, b and e, on theother hand, although bearing some resemblance to each otherthrough their melodic lines in the minor, are strongly contrasted intempo (b: Allegro, c: Andante), in metre (b: duple, c: triple 3/4) intonality and style of accompaniment (ostinato in b, polyphonic in c).

Kk 283Kk 284 The rhythmic motifs on which Kk 283 is basedreappear in Kk 270. The present prelude, however, shows greater

variety through the triplets which appear in the closings and in themodulations in the second half. Kk 284 is a sprightly rondo whosetheme appears alternately in the major and the minor over a G in thebass. An octave G pedal point repeated on the first beat of every barcreates an effect something like the drone of a hurdy -gurdy, all ofwhich contributes to giving this superb piece the atmosphere of acountry dance.

Kk 285Kk 286 Marked Allegro in the Venice manuscript, Kk 285appears as Andante Allegro in the Parma manuscript. The themeis, in essence, the motif heard in the first bar, and it is repeatedthroughout the sonata. The accompaniment is straightforward. Kk 286 is a gigue, accented with syncopations and acciaccaturas.The stream of quavers is frequently accented by lower semitoneappoggiaturas. Several of the sequences are repeated note for note,making it possible to create an echo effect on two keyboards.

Kk 287 & Kk 288 See CD 34.

CD 19Kk 289Kk 292 These four sonatas constitute either a short suite or,just as easily, a couple of pairs. Each one of the pieces is set inmovement by a rhythmic motif which is maintained throughout.The motif appears in the opening (in the case of Kk 290, it is notheard in the first few bars). Nobody could deny the elegance ofthese pieces, whose simple charm is matched by the mastery of the writing.

Kk 293 is a toccata. The motifs are for the most part treated inimitation. The result is a piece of three-part polyphony, just a shadelaboured, which frequently moves along in a series of harmonic shifts.

Kk 294Kk 295 In Kk 294, scale patterns of a rather repetitivenature alternate with short polyphonic sequences, and the tonalityoscillates between major and minor. The piece feels somewhatimprovised. Kk 295 picks up the motifs of Kk 284. The main themeover a drone bass is used to bring the piece to an end and thecouplets are placed at the beginning of each half. Modulatingsequences placed between fermatas lend this short piece anincreasingly declamatory character.

We have now arrived at the end of Volume V, which comes to aclose with Kk 295. The beginning of Volume VI contains somesplendid surprises.

Kk 296Kk 299 These two pairs placed at the head of the last of thethree Venice volumes dated 1753 are real masterpieces. They haveall the thematic wealth, the full sound and the rhythmic andharmonic contrasts of the flamboyant period with, in addition, thelyricism of the slower movements (Kk 296, 298).

The repeated notes in Kk 298 sing out in the manner of a mandolin,no doubt more of a Neapolitan instrument than a Spanish one.

Virtuosity is forced to its extreme limits in Kk 299, which iscertainly one of the most taxing technically of all Scarlattis works.The extract quoted below demonstrates its kinship with the studiesof Chopin or of Liszt.

Kk 300Kk 301 Here we have two sonatas imbued with charm andsimplicity. They appear at the end of the Parma manuscript, likewisedated 1753. The fact, however, that the Venice and the Parmamanuscripts carry the same date does not necessarily have anybearing on the actual dates of composition.

CD 20Kk 302 This is one of the few Andante ternary form pieces inKirkpatricks catalogue. It is centred around a continuous stream oftriplets and the resulting fluidity is suddenly interrupted at the endof each half by a cascade of arpeggios and a torrent of scales.

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Many of Scarlattis sonatas are written around a tiny motif which istaken up again and again. In most cases, the figure is a rhythmic one.Sometimes the motif is a melodic arabesque and by means ofrepetitions, modulations and even complete transformations, itbecomes the driving force of the whole piece.

Kk 303 The whole impetus of this piece is provided by thefollowing motif:

Kk 304Kk 305 The final rhythmic motif contained in Kk 305 isworth noting:

Scarlatti uses this rhythm again in Kk 311 in conjunction withdescending arpeggios. Both sonatas feature stressed pedal points.

Kk 306Kk 307 Here we have repetitions, almost ad infinitum, ofthe simplest musical material: eight notes starting in the second barof Kk 306 and six notes for the right hand at the beginning ofKk 307. Yet another example of the drive supplied by a shortmotif. One could almost speak of action music, rather as onespeaks of action painting. This same principle is to be found atwork in many of the 6/8 pieces.

Kk 306 is the first sonata in the seventh volume of the collectionedited by Kenneth Gilbert for the series Le Pupitre published byHeugel. For the most part, these pieces are not particularly difficultto play. They are perhaps a little lacking in inspiration. Neverthelessthey are often of great clarity and are always admirably constructedaround relatively simple rhythms and harmonies. There are nohand-crossing passages; nor are there any of the leaps which makesome of the pieces rather difficult to perform.

Kk 308Kk 311 Here we have two pairs of sonatas writtenthroughout for two voices. They are full of charm and simplicity.More often than not, the bass is made up of crotchets or minims.

Kk 312Kk 313 There is a preponderance of work for the left handin this pair. Patterns like

in Kk 312 or

in Kk 313 are divided between the two hands and performance isrendered all the more difficult by the fact that the last note in eachgroup is at some distance from the others.

Kk 314Kk 315 Kk 314 provides yet another example of the fluiddevelopments which Scarlatti mastered so well. The writing is inthree parts and the harmonies seem to feel their way carefully,creating an atmosphere of suspense. In Kk 315, there is a series ofsix-note motifs whose imitation sequences come to an end with a3/4 hemiola at the end of each half.

Kk 316Kk 317 By varying the weight of the chords and themelodic lines in these pieces, Scarlatti manages to extend thedynamic range of the harpsichord.

CD 21What temperament was used by Scarlatti in 1750? Were theinstruments at the court of Spain tuned unequally so that thethirds could be really in tune? Were the remote keys, laden withsharps and flats, put at a disadvantage? Keys like F sharp, B and D flat, which are so convenient for virtuoso playing, are rarely tried out. There are three pairs of sonatas in these keys and a fewisolated pieces which modulate into these reputedly difficulttonalities only to escape from them rapidly by slipping from themajor into the minor.

Kk 318Kk 319 These are the only sonatas written in F sharpmajor. In order to establish the setting for what was a most unusualkey for the time, Scarlatti opens each piece with a scale passage overthe whole extent of the keyboard, from top to bottom in Kk 318

and vice versa in Kk 319. He appears to be less interested in thedigital facilities offered by the tonality than in the modulations madeavailable to him: from F sharp to C, the remotest key (C minor inKk 318, C major in Kk 319). The key signatures are altered andthere are a large number of enharmonic changes.

Kk 320Kk 321 A pair of Allegros which exercise the players skillin playing sixths (Kk 320) and arpeggios (Kk 321). The second ofthe sonatas contains one of the typical rhythmical patterns of whichScarlatti was so fond:

Kk 322Kk 323 Another pair in fast tempi. The writing isnevertheless limpid and the sonatas are relatively easy to perform.

Kk 324Kk 325 This pair, on the other hand, is more difficult onaccount of complicated passages for the left hand, the runs in sixthsand thirds which crop up all over in Kk 324 and the stretches whichappear systematically in Kk 325 (post-crux and development).

The seventh volume of the Venice manuscript begins with Kk 326;it contains the pieces to be found in volumes 8 and 9 of the Parmamanuscript. The latter are dated 1753 and 1754. So far as we know, Parma is earlier than Venice, which, incidentally, bears thedate 1754.

Kk 326Kk 327 In this pair, Kk 326 has the feel of a toccata and Kk327 is reminiscent of an early dance. The modulations in Kk 326frequently move through the cycle of fifths and are closer to theGerman school than to Scarlattis usual style. The regularsubdivisions of Kk 327 and the five-quaver motif, repeated morethan a hundred times in various guises

turn the piece very nearly into an item of choreography.

Kk 328 See CD 34.

Kk 329Kk 330 The thematic material of Kk 329 consists of a shortfour-bar ritornello. It appears first in the major then, later in the firsthalf, in the minor. It gradually undergoes several transformations andis repeated in a number of different tonalities. Kk 330, which is agigue subdivided somewhat unsystematically, is nevertheless writtenin a straightforward style. There is a good deal of interplay betweenrepeated quavers and semiquaver scales and arpeggios.

Kk 331Kk 332 Scarlatti springs a few of his special surprises on us in these sonatas. In the first piece there is a constantly-repeatedthree-note figure which, either in the left hand or the right hand, emphasises the first beat of nearly every bar rather in themanner of percussion or pizzicato. In the second, the cadences,unisons, modulations and arpeggios create an entirely individualorchestral effect.

Kk 333 The two halves of this sonata are entirely different in tempo,metre and character. It is rather as though Scarlatti put half of onesonata with half of another to make a sort of contracted pair.

Kk 334