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Domenico Scarlatti was the son of the famous opera seria composer, Alessandro Scarlatti. While Domenico had a promising career in vocal composition early on, he “retired” from it in 1719 and focused his efforts on keyboard music, following his pupil the Princess Maria Barbara to Madrid in 1728. It was there that he undoubtedly absorbed some of the Spanish guitar music idioms sometimes found in his keyboard sonatas (most noticeable in the LH chords of this piece, as well as Sonata K. 175 in A Minor). He wrote a staggering 555 sonatas (although they are all single movements) and they range from achingly beautiful to pedal-to-the-metal exciting. Although he was born the same year as Bach (1685, along with Handel), Scarlatti’s music fits in the galant style. Scarlatti moved to Madrid when he was 43, so much of his keyboard music was from the second half of his life — toward the end of J.S. Bach’s and Handel’s careers. While baroque music is saturated with complexity (Bach’s F# Minor triple fugue from WTC II, for example), music in the galant style is marked with a sense of pleasure, accessibility, and occasional flamboyance.