Manual Sonata in F major - K446/P177/L433

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Sonata No.433 in F Major

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  3. SCARLATTI, D.: Keyboard Sonatas, Vol. 1 - NaxosDirect.
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    He was there to enjoy patronage and significant church appointments. Yet the influence of his father was so great, that at the age of 32 he resorted to gaining legal independence from his parent, and fled to Portugal to finally end this oppressive influence.

    Sonata in F major K. /L. /P. by Domenico Scarlatti

    So we enter another nine years of which we know nothing, apart from the fact that he often visited Italy and was married there in Though there are reports that he travelled widely in his last thirty years is spurious, as there is no firm evidence of his ever leaving the Iberian peninsula.

    Indeed it would appear that he was happy to be a modest part of the royal household, teaching, performing and composing, the latter almost entirely devoted to his massive volume of keyboard sonatas. Thus his quite significant output of operas pre-date his departure from Italy, with only a handful of his sacred cantatas being composed while in Lisbon. Yet the sonatas were to have an influence on keyboard writing and playing for the next century, and gained Domenico a place in musical posterity. He was to die in Madrid in Even with today's musicological research, questions of authenticity and textural accuracy still exist due the chequered history of their publication.

    Indeed the first batch were printed in London, presumably the work of Italians working in England.

    Scarlatti, Domenico

    Other volumes were published second-hand from some Spanish scribe, and so we continue. Musically they were far more advanced melodically and harmonically than any other keyboard works of the period, and can be seen leading out of the Baroque era into something with a less formal structure. They are in one movement, often of complex structure, and demanded a virtuosity that must have taxed performers at that time. They also tell us much about Scarlatti as a performer, as he obviously was the master of his own music.

    We are totally unsure as to the date of composition, and we must take the numbering as being nothing more than a general guide whether we accept the numbering allotted by either Ralph Kirkpatrick K numbers or the earlier ones from Alessandro Longo L numbers. We are equally uncertain what instruments Scarlatti would have had at his disposal in Spain, though performers make a distinct stand on this point.