Scarlatti, Domenico : Sonata g-moll K.4 L.390
Work Overview
Genre：sonata
Total Playing Time：3 min 40 sec
Copyright：Public Domain
Commentary (2)
Author : Maruyama, Yoko
Last Updated: September 2, 2011
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Author : Maruyama, Yoko
About Sonatas K. 1 - K. 30
Among Scarlatti's keyboard sonatas, K. 1 to 30, numbered according to their generally estimated composition dates (Kirkpatrick numbers), were published as Essercizi per Gravicembalo and dedicated to King João V of Portugal in return for the bestowal of a knighthood. (This collection is generally translated as "Exercises for Harpsichord," and Scarlatti's works for keyboard instruments are primarily presumed to be for harpsichord; however, the current state of research does not definitively rule out other keyboard instruments.) This was the only collection published by the composer himself during his lifetime, and its preface holds value as an authentic documentary source by the composer.
The preface suggests that the collection aims at the cultivation of performance technique, leading to the inference that it was written for the practical purpose of daily practice for Maria Barbara, whom he served as a music teacher. Regarding the composition date, many researchers argue for an early date, viewing the Essercizi as revisions of sonatas written considerably earlier, but no definitive conclusion has yet been reached.
The arrangement of all 30 pieces allows for progressive learning, with later works generally becoming longer and more difficult. The form is fundamentally binary. Furthermore, it is typical of Scarlatti's sonatas for the opening of a work to feature brief imitation between both hands; in many cases, the imitative figures appear to have little apparent connection to the main material of the rest of the work.
The preface also contains remarks touching upon the overall musical content of the collection, but their interpretation has been repeatedly debated, partly due to the preface being a text prone to expressions of humility or conventional formality.
K. 4 [Allegro] G minor
The arpeggiated thirds at the opening and the motive consisting of a leap and a descending scale in thirds, which appears in the first cadential passage, are used throughout the work. While mostly written in two voices, the vicinity of the cadential passages becomes three-voiced, and this change in texture and richness of voices anticipates the cadence.
Author : Ooi, Kazurou
Last Updated: July 21, 2025
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Author : Ooi, Kazurou
This sonata emphasizes direction. It is crucial to constantly make the listener feel where the music is heading. For this, dynamic changes are essential, but how these dynamics are determined is left to the performer.
Let's take the first half as an example. In the first half, the highest note written is A on the downbeat of the second beat of measure 2. Since there are no notes higher than this A in the first half, it can be assumed that the tension increases at least when A appears.
This is just one example of how to apply dynamics. For your reference.
The piece starts forte, gradually decreasing in volume with a descending sequence in two-beat units in measure 2, reaching a p dynamic at the g-minor cadence in measure 5. From there, an ascending sequence leads to A in measure 8. From there, the volume decreases again with a descending motion, followed by a crescendo from measures 10 to 12, reaching what is likely the peak point of the first half in measure 13. At this point, the same two-beat pattern is repeated three times. For these three repetitions, for example:
- 1. Continue playing without any dynamic changes.
- 2. Vary the dynamics each time, for example, playing the first louder, the second softer, and the third louder.
- 3. Decrease the volume once at the first repetition, then gradually crescendo, making the second louder than the first, and the third louder than the second.
These are some possible approaches. It is up to the performer's discretion. Finally, the last A is reached in measure 15, from which the volume gradually decreases with a descending sequence.
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