The original D minor effort (K. 141, L. 422) is one of
Scarlatti's finest Sonatas and also one of his most
unusual: It was meant to be a toccata whose focus on
repeated notes is said to be an attempt to imitate the
sonorities of a mandolin. In addition, it makes
considerable demands on the soloist with hand-crossings
and other keyboard acrobatics executed at rapid
tempos.
Originally marked Allegro, the work's opening is
striking: the sound world of a mandolin is immediately
invoked in ...(+)
The original D minor effort (K. 141, L. 422) is one of
Scarlatti's finest Sonatas and also one of his most
unusual: It was meant to be a toccata whose focus on
repeated notes is said to be an attempt to imitate the
sonorities of a mandolin. In addition, it makes
considerable demands on the soloist with hand-crossings
and other keyboard acrobatics executed at rapid
tempos.
Originally marked Allegro, the work's opening is
striking: the sound world of a mandolin is immediately
invoked in the manic character of the repeated notes.
Some listeners may identify this rapid-fire,
tremolo-like effect more with the guitar, another
instrument Scarlatti often imitated in his keyboard
works.
The main theme scurries about playfully, but with a
sense of urgency in its hyperactivity. The material of
the second subject is just as driven, but focuses less
on repeated notes, more on heightening the sense of
conflict and resolution, but always with elegance, if a
breathless elegance. Midway through Scarlatti turns to
development of his thematic material, as was his usual
course. Here the music maintains the same busy mood in
expanding largely on the secondary material, and in
those nervous repeated notes as well. Without a doubt
the original three-and-a-half minute gem is one of
Scarlatti's finest and most challenging sonatas.
Although originally written for Keyboard, I took some
creative license with this piece to create this
arrangement for Concert (Pedal) Harp.
PARTITION