In 1739, Scarlatti's early keyboard sonatas were published in London by Cooke as a two-volume collection titled XLII Suites de Pieces Pour le CLAVECIN. This was a pirated edition by the composer's friend, Thomas Roseingrave, and it marked the beginning of a continuous publication of scores with low authenticity for Scarlatti's works throughout the 18th century. Roseingrave, citing the subscribers' wishes, inserted his own introductory piece, "Introduction," at the beginning of the collection and a fugue by Alessandro Scarlatti in the middle. The cover claimed that the publisher had corrected errors from previously published scores. This collection includes the 30 pieces from Essercizi, an alternative version of K. 8, and K. 31-42, making it the most important primary source for K. 31-42 today.

K. 32 ARIA 3/8 d-moll

A three-part song form, ||:a:||:ba:||. The sweet melody in the right hand is largely composed of the motives from the first and second measures. Although the material is limited, changes in register and bass variations contrast the music of each of the three sections. For example, in 'a', two-measure motives are connected without large leaps, whereas in 'a'', the two-measure motives, in contrast to the beginning, are connected via a ninth leap, and sudden shifts in register contrast the sound. In 'b', the rhythm in the left hand and the octave displacement of the one-measure motives from measure 13 make the music more progressive than in 'a'.