About Sonatas K. 1 - K. 30

Among Scarlatti's keyboard sonatas, K. 1 to K. 30, numbered according to the generally estimated composition dates in the Kirkpatrick catalog, 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 while Scarlatti's works for keyboard instruments are primarily presumed to be for harpsichord, the current state of research indicates that it is not entirely clear whether other keyboard instruments were completely out of consideration.) 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 himself.

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 composition 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 piece to feature a brief imitation between the two hands; in many cases, the imitative figure appears to have little direct relation to the main material of the rest of the piece.

It should be noted that the preface also contains remarks touching upon the overall musical content of the collection, but the interpretation of these remarks has been repeatedly debated, partly due to the preface being a text prone to expressions of humility or formality.

About K. 5 [Allegro] D minor

The main melody is in the upper voice, weaving a consistent melodic figure through sequences. The relationship between the hands, the melodic figure, and the rhythm in the sequence following the scale passage correspond to the opening. Subsequently, F major is emphasized through the repetition of four-measure phrases and a succession of tonic chords. The second half begins with material from the opening of the piece, and, led by one-measure sequences, the material from the fourth measure onwards of the first half returns from the subdominant key.