Scarlatti, Domenico : Sonata c-moll K.11 L.352
Work Overview
Genre：sonata
Total Playing Time：2 min 10 sec
Copyright：Public Domain
Commentary (2)
Author : Maruyama, Yoko
Last Updated: January 1, 2010
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Author : Maruyama, Yoko
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 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 a conclusion has not 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 brief imitation between the hands, and in many cases, the imitative figure appears to have little apparent connection to the main material of the rest of the piece.
Additionally, the preface contains remarks touching upon the overall musical content of the collection, but their interpretation has been repeatedly debated, partly due to the nature of the preface as a text prone to humility and conventional expressions.
K. 11 Allegro
The persistent repetition of descending scale passages in fourths, presented in various rhythms, lends unity to the entire piece. The hands cross, and the overall tessitura is concentrated in the high register. The left hand descends below C only in the cadences. Limiting the use of the bass register to only significant passages in this manner is a technique frequently employed by Scarlatti.
Author : Ooi, Kazurou
Last Updated: July 21, 2025
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Author : Ooi, Kazurou
This sonata, written in C minor, lacks optimistic elements, instead possessing beauty and a certain dramatic intensity. It begins solemnly with eighth notes and quarter notes, gradually introducing sixteenth notes as the piece progresses. As the music unfolds, the hands separate, concluding the first half. The second half similarly commences with quarter notes and eighth notes, incorporating sixteenth notes as it develops, and finally, the hands expand with a weighty chord.
In essence, both the first and second halves require a sense of direction, progressing towards their respective final measures. Both halves should begin quietly (p) and gradually increase in volume, building to the final measure. The same phrase continues for measures 10-12 and 24-26. When the same phrase repeats, one might be tempted to play one part forte and the other piano; however, here, the volume should be gradually increased over these three measures to reach the cadence. At the end of the second half, the tempo should be slightly broadened to conclude dramatically.
